Renoir and Pissarro | Different Views
Connaught Brown explores the work of two titans of Impressionism – Camille Pissarro and Pierre-Auguste Renoir.
This major exhibition will, through their art, examine their views on society, subject matter, practice and technique.
As the founders of Impressionism, alongside Monet and Sisley, the two artists are often associated with one another. They exhibited together at the first Impressionist exhibition of 1874 in Paris and two of its subsequent editions.
Despite starting as friends, the right wing Renoir became alienated from the left wing Pissarro as the years went by. These ideologies separated the artists both personally and artistically. Within their paintings they differed on what they saw as of importance in their surroundings: Pissarro chose a form of realism, elevating a humble life, while Renoir favoured bucolic idealism.
In contrast, Pissarro viewed his relationship with the younger generation as reciprocal. Van Gogh, Gauguin, Luce and Cezanne all learnt from him. In turn, he studied them, adopting the pointillist technique after being introduced to its creators, Signac and Seurat, by his son Lucien.
The vast developments in technology and science, which had a great impact on theart of their time, were implemented very differently by the two artists. For Pissarro, this came through the Pointillist technique of juxtaposing small touches of pure colour. For Renoir, this became apparent when depicting objects in the foreground in greater detail, just as the eye sees.
This exhibition is a celebration of Renoir and Pissarro’s similarities and differences. Examining what brings the artists together and drives them apart, this unique display delves into what has made these artists epoch-defining figures.
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Camille Pissarro, L’Anse des Pilotes, après-midi, temps ensoleillé, le Havre , 1903
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Camille Pissarro, Route enneigée avec maison, environs d'Éragny, 1885
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Pierre-Auguste Renoir, Paysage, c. 1910-12
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Pierre-Auguste Renoir, Paysage, 1916
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Pierre-Auguste Renoir, Nu Assis, c. 1900-1902
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Camille Pissarro, Soleil couchant, c. 1872
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Camille PissarroLe Père Melon au repos, c. 1879Oil on canvas21 1/4 x 25 5/8 in, 54 x 65 cmStamped 'C.P.' lower right
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Pierre-Auguste Renoir, Lavandières au bord du Loup, 1917
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Pierre-Auguste Renoir, Tête de femme blonde, 1908
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Camille PissarroMarché aux poissons, Dieppe, 1901Gouache on silk6 1/4 x 10 1/4 in, 16 x 26 cmSigned 'C. Pissarro' lower left
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Paul Paulin, Portrait head of Camille Pissarro, c. 1904
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Camille Pissarro, Bords de l'Oise, environs de Pontoise, 1872
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Camille PissarroScène de ville, c.1852-54Brush and sepia ink, pencil and wash on paper10 3/8 x 14 1/8 in, 26.4 x 35.9 cm
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Camille PissarroBateaux à quai, 1894Watercolour over pencil on paper laid down on board5 1/4 x 7 1/8 in, 13.2 x 18.1 cmSigned 'C. Pissarro' lower left
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Camille Pissarro, Chatillon sur Seine, c.1882
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Camille Pissarro, Palmiers / Femmes Parlant (verso), c. 1850
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Camille Pissarro, Double sided sheet from sketchbook, c. 1852
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Camille PissarroEtudes, 1852Brush and ink on paper15 1/4 x 11 1/4 in, 38.9 x 28.5 cmInscribed 'Su amigo' in pencil upper left, inscribed 'C.P.' middle right in pencil overdrawn in pen, inscribed 'O.C.P (P)' lower left (recto) / Inscribed 'St Thomas' and dated 1852 upper right (verso)Sold
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Camille PissarroÉtude de paysanne, c.1885Black crayon and grey wash on wove paper8 5/8 x 6 3/4 in, 21.8 x 17 cmInitialled 'C.P.' lower right
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Camille PissarroEl Cardonal La Guaira Ávila, 1852Pencil on paper10 3/8 x 14 1/8 in, 26.5 x 36 cmSigned and dated 25 November 1852
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Camille Pissarro, Jeune femme nouant ses cheveux, c.1890
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Camille Pissarro, Paysage, 1890
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Pierre-Auguste RenoirLe Chemin, c.1889-95Watercolour on paper7 5/8 x 11 in, 19.5 x 28 cm
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Camille Pissarro, Battersea Bridge, Chelsea, London, c.1890
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Camille Pissarro, Agneau, c. 1881
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Camille Pissarro, Homme de ferme auprès de deux chevaux, c. 1875
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Camille PissarroPaysanne dans le Choux, 1885Etching, drypoint and aquatint laid on paper11 1/2 x 9 1/4 in, 29.3 x 23.6 cmSigned in pencil and inscribed ‘Epreuve d’artiste’ and ‘no.4’Sold
Laid on paper with full margins
Second and final state
One of 8 impressions of this state pulled by the artist, from the edition of 14 stamped and numbered lifetime impressions
An additional 24 were printed posthumously
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Camille PissarroPaysanne portant des seaux, 1889Drypoint with aquatint in dark brown10 3/8 x 7 3/4 in, 26.3 x 19.7 cmSigned, numbered 'no. 6 ep d'art', titled and dedicated 'a l'ami Theo van Rysselberghe'Sold
Seventh (and final) state
One of 7 or 8 impressions of this state pulled by the artist, from the edition of c. 20-21 lifetime impressions
An additional 25 were printed posthumously