(vía Review -- Three Books About Art, Gardens, and Science)
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paintings that create a hard to describe mood or atmosphere (therefore depth) that should attract fi users
Nighthawks by Edward Hopper (also ni in this)
Nuit d'été by Marc Chagall
montmartre boulevard by camille pisarro
island of the dead by arnold böcklin (also ni in this)
red vineyard by van gogh
girl reading a letter at an open window by vermeer
hylas and the nymphs by j.w. waterhouse
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"The Boulevard Montmartre at Night" by Camille Pisarro via @dailyartapp - your daily dose of art | www.getdailyart.com | #dailyart #art #loveart #masterpiece (at Llansanffraid Glan Conwy) https://www.instagram.com/p/Cm-_vaDjWau/?igshid=NGJjMDIxMWI=
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Camille Pisarro - Le Port de Rouen 1883
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But the hard question is this. What exactly follows from the comparative value judgment when we come to the dynamics of Cézanne's and Pissarro's dealings with one another? Does it follow that when Cézanne apprenticed himself to the older artist he apprenticed himself to something lesser than himself - to an artistic project that was essentially (too) simple, too sunny and unproblematic, for what turned out to be his deeper sense of life and art? This seems to be assumption that shapes most thinking on the subject. Pero la pregunta difícil es esta. ¿Qué sigue exactamente del juicio de valor comparativo cuando llegamos a la dinámica de las relaciones entre Cézanne y Pissarro? ¿Se deduce que cuando Cézanne se convirtió en aprendiz del artista mayor, se convirtió en aprendiz de algo inferior a sí mismo, de un proyecto artístico que era esencialmente (demasiado) simple, demasiado alegre y sin problemas, para lo que resultó ser su sentido más profundo de la vida y arte? Esta parece ser la suposición que da forma a la mayoría de las ideas sobre el tema. - Camille Pisarro 1867 - Cezánne 1880-82 https://www.instagram.com/p/CpTGiOMvDpG/?igshid=NGJjMDIxMWI=
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Lezione del 9/03/2022
AUTORE: Camille Pisarro
TITOLO: La Cote des Boeufs
DATA: 1877
MATERIALE E TECNICA: olio su tela
LUOGO DI CONSERVAZIONE: Museo dell'Hermitage, San Pietroburgo
SCELTE TECNICHE E STILISTICHE: Pissarro rappresenta i paesaggi servendosi di una composizione destrutturata dovuta alle pennellate puntinate che avranno poi particolare successo nella corrente del puntinismo.
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Rue Saint-Lazare , Paris - Camille Pisarro, 1897.
French, 1830-1903
Oil on canvas, 35 x 27
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GEORGE SEURAT: LE PAYSAGE POINTILLISTE
At the urging of Camille Pissaro, Georges Seurat and Paul Signac were included in the eighth—and last—Impressionist exhibition of 1886. The list of the works by Seurat from the show’s guidebook is reproduced above.
1. The Lighthouse at Honfleur, 1886, Washington DC, National Gallery of Art.
2. Les Grues et la percée à Port-en-Bessin, 1888, Washington DC, National Gallery of Art.
3. La Forêt à Pontaubert, 1881, New York, Metropolitan Museum of Art.
4. Le Bec du Hoc, Grandcamp, 1885, London, National Gallery of Art.
5.. La Luzerne Saint Denis, 1885-86, Edinburgh, National Gallery of Scotland.
6. Entrance to the Harbor, Port-en-Bessin, 1888, New York, Metropolitan Museum of Art.
7. Guide, 8ème Exposition Impressioniste, 1886, Paris, Bibliothèque Nationale de France.
8. Fort Samson, 1886, St Petersburg, State Hermitage Museum.
7. Fort Samson, 1886, St Petersburg, State Hermitage Museum.
8. Coin d'un bassin à Honfleur, 1886, Otterlo, Kröller Müller Museum
9. The Beach, Le Bas Butin, Honfleur, 1886, Tournai, Musée des Beaux Arts.
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Wesley’s most recent project in his Saturday art class was to try copy a impressionist painting. He worked on Pisarro’s “Boulevard Montmartre at Night.” (08/18)
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Camille Pisarro’s Lordship Lane Station, Dulwich, 1871 (via here)
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Camille Pisarro - La Seine et le Louvre, vus du Pont-Neuf. 1902
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Camille Pissarro, around 1900
Archives Musée Pissarro, Pontoise
Portrait de Félix Pissarro, 1881
Oil on canvas, 55,2 x 46.4 cm
Tate, London, bequeathed by Lucien Pisarro, 1944
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