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Camille Pissaro
The Hermitage at Pontoise
1867 59 5/8 x 79 in (151.4 x 200.6 cm)
Solomon R Guggenheim Museum, New York
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Camille Pissaro
The Hermitage at Pontoise
1867 59 5/8 x 79 in (151.4 x 200.6 cm)
Solomon R Guggenheim Museum, New York
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Camille Pissaro
Landscape at Chaponval
1880 Musee d'Orlay, Paris
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Camille Pissaro
Self Portrait
1873 Musee d'Orlay, Paris
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Camille Pissaro
Countryside and Eragny Church and Farm
1895 Musee d'Orlay, Paris
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Camille Pissaro
Kitchen Garden with Trees in Flower, Pontoise
1877 Musee d'Orlay, Paris
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Camille Pissaro
Hoarfrost
1873 Musee d'Orlay, Paris
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Camille Pissaro
The Old Market Town at Rouen
1898 The Metropolitan Museum of Art, New York
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Camille Pissaro
Hyde Park, London
1890
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Camille Pissaro
Kew, The Path to the Main Conservatory
1892
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Camille Pissaro
Resting in the Woods at Pontoise
1878 Kunsthalle, Hamburg
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Camille Pissaro
Portrait of Madame Pissarro Sewing near a Window
1878-79 Ashmolean Museum, Oxford
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Camille Pissaro
Sunlight on the Road, Pontoise
1874 Museum of Fine Arts, Boston
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Camille Pissaro
Morning Sunlight on the Snow, Eragny sur Epte
1895 Museum of Fine Arts, Boston
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Camille Pissaro
Sunset at St. Charles, Eragny
1891 Sterling & Francine Clark Art Institute, Williamstown, Mass
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Camille Pissaro
Louveciennes : The Road to Versailles
1870 Foundation E.G.Buhrie Collection, Zurich
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Camille Pissaro
Girl Sewing
1895 Art Institute of Chicago
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Camille Pissaro
The Railway Bridge, Pontoise
1873
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Camille Pissaro
La Cote des Boeufs, The Hermitage
1877 National Gallery, London
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Camille Pissaro
The Pork Butcher
1883 Tate Gallery, London
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| Camille Pissaro
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1830-1903
French
Camille Pissarro Locations
Painter and printmaker. He was the only painter to exhibit in all eight of the Impressionist exhibitions held between 1874 and 1886, and he is often regarded as the father of the movement. He was by no means narrow in outlook, however, and throughout his life remained as radical in artistic matters as he was in politics. Thadee Natanson wrote in 1948: Nothing of novelty or of excellence appeared that Pissarro had not been among the first, if not the very first, to discern and to defend. The significance of Pissarro work is in the balance maintained between tradition and the avant-garde. Octave Mirbeau commented: M. Camille Pissarro has shown himself to be a revolutionary by renewing the art of painting in a purely working sense; at the same time he has remained a purely classical artist in his love for exalted generalizations, his passion for nature and his respect for worthwhile traditions.
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