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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 5, 2013 | Bonhams | London | The Rau Unicef Sale | 64 | Estimates not disclosed | Le grand noyer a l'Hermitage |
paintings
32.5 x 40.8 cm (12.8 x 16.06 in)
oil on canvas
signed and dated 'C.Pissarro.1875' (lower right)
By descent to Ludovic-Rodolphe Pissarro, the artist's son, 1904. Frau E. Grob-Müller. Brauerei Müller, Baden, Switzerland. Sale [Property from a Swiss Estate],
Sotheby's, London, 28 June 1995, lot 126 (where purchased by Dr. Rau)
Aargau, Aargauischer Kunsthaus, Jubiläums-Ausstellung aus Aargauischen Privatbesitz, No. 1: von den Impressionisten bis zur Gegenwart, 1960, no. 314.Pissarro first exhibited at the official Salon in Paris in 1859 and continued to follow the official precepts of the artistic establishment, if unevenly, through the following decade. Corot and Daubigny were his major influences in this period, and like them Pissarro insisted on painting en plein air, working directly from nature. Increasingly, however, he found the strictures of these earlier masters limiting. While Corot made sketches in the open air, his pictures were then usually finished in the studio with untidy elements eliminated and the artist's initial impressions of the subject sublimated to more harmonious aesthetic and technical preconceptions. In contrast, Pissarro focussed much more on exploring the real world as he experienced it, preferring to finish his pictures in a single sitting while still immersed in his feeling for the landscape. This approach, depicting the natural world and the daily lives of workers without weighty symbolic meaning, painted in raw brushstrokes of pigment applied wet on wet, was in direct opposition to the perfect finish and romantic nuance of Corot and his peers. The public was hostile to such vulgar and commonplace scenes and the Academy was scandalised by the sketchy finish. In 1874, having been denied access to the official Salon, the principal marketplace for new art, Pissarro, Monet and Cézanne, with a small group of sympathetic artists, staged a rival exhibition in the studio of the photographer Nadar. The critic Louis Leroy snidely criticised the paintings for giving only an impression of their subject, but Impressionism was launched
L. R. Pissarro and L. Venturi, Camille Pissarro, son art - son oeuvre, San Francisco, 1989, vol. II, no. 315 (illustrated). J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings, Paris, 2005, vol. II, p. 306, no. 417 (illustrated)
