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citizens. However, she was "fired up with the cause" of promoting
Impressionism and looked forward to exhibiting "out of solidarity with her new friends". Towards the end of the 1890s she began to distance herself from the Impressionists, avoiding Degas at times as she did not have the strength to defend herself against his "wicked tongue". Instead, she came to prefer the company of "the gentle Camille Pissarro", with whom she could speak frankly about the changing attitudes toward art. She once described him as a teacher "that could have taught the stones to draw correctly."
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554:. What they shared in common was their dissatisfaction with the dictates of the Salon. CĂ©zanne's work had been mocked at the time by the others in the school, and, writes Rewald, in his later years CĂ©zanne "never forgot the sympathy and understanding with which Pissarro encouraged him." As a part of the group, Pissarro was comforted from knowing he was not alone, and that others similarly struggled with their art.
1141:"Having tried this theory for four years and having then abandoned it ... I can no longer consider myself one of the neo-impressionists ... It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and so admirable, of nature, impossible to give an individual character to my drawing, I had to give up."
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together. One writer noted that with his prematurely grey beard, the forty-three-year-old
Pissarro was regarded as a "wise elder and father figure" by the group. Yet he was able to work alongside the other artists on equal terms due to his youthful temperament and creativity. Another writer said of him that "he has unchanging spiritual youth and the look of an ancestor who remained a young man".
1227:, who also studied under him, referred to Pissarro "as a force with which future artists would have to reckon". Art historian Diane Kelder notes that it was Pissarro who introduced Gauguin, who was then a young stockbroker studying to become an artist, to Degas and CĂ©zanne. Gauguin, near the end of his career, wrote a letter to a friend in 1902, shortly before Pissarro's death:
1113:, as a boarder in his home. Lucien Pissarro wrote that his father was impressed by Van Gogh's work and had "foreseen the power of this artist", who was 23 years younger. Although Van Gogh never boarded with him, Pissarro did explain to him the various ways of finding and expressing light and color, ideas which he later used in his paintings, notes Lucien.
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Jewish community because she was previously married to
Frederick's uncle and according to Jewish law a man is forbidden from marrying his aunt. In subsequent years his four children attended the all-black primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas' Protestant church.
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because he painted what he saw: "rutted and edged hodgepodge of bushes, mounds of earth, and trees in various stages of development." According to one source, such details were equivalent to today's art showing garbage cans or beer bottles on the side of a street. This difference in style created disagreements between
Pissarro and Corot.
374:. Mirzoeff states, "A formal analysis suggests that work influenced the young Pissarro, who had just returned to the island from his school in France. Soon afterward, Pissarro began his own drawings of the local African population in apparent imitation of Sawkins," creating "sketches for a postslavery imagination."
1077:, both of whom relied on a more "scientific" theory of painting by using very small patches of pure colours to create the illusion of blended colours and shading when viewed from a distance. Pissarro then spent the years from 1885 to 1888 practising this more time-consuming and laborious technique, referred to as
459:, the official body whose academic traditions dictated the kind of art that was acceptable. The Salon's annual exhibition was essentially the only marketplace for young artists to gain exposure. As a result, Pissarro worked in the traditional and prescribed manner to satisfy the tastes of its official committee.
875:." Armand Silvestre, a critic, went so far as to call Pissarro "basically the inventor of this painting"; however, Pissarro's role in the Impressionist movement was "less that of the great man of ideas than that of the good counselor and appeaser ..." "Monet ... could be seen as the guiding force."
746:, which confirmed their belief that their style of open air painting gave the truest depiction of light and atmosphere, an effect that they felt could not be achieved in the studio alone. Pissarro's paintings also began to take on a more spontaneous look, with loosely blended brushstrokes and areas of
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beginning in 1872. He recalls that CĂ©zanne walked a few miles to join
Pissarro at various settings in Pontoise. While they shared ideas during their work, the younger CĂ©zanne wanted to study the countryside through Pissarro's eyes, as he admired Pissarro's landscapes from the 1860s. CĂ©zanne, although
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But the change also added to
Pissarro's continual financial hardship which he felt until his 60s. His "headstrong courage and a tenacity to undertake and sustain the career of an artist", writes Joachim Pissarro, was due to his "lack of fear of the immediate repercussions" of his stylistic decisions.
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To assist in that endeavour, in 1873 he helped establish a separate collective, called the "Société Anonyme des
Artistes, Peintres, Sculpteurs et Graveurs," which included fifteen artists. Pissarro created the group's first charter and became the "pivotal" figure in establishing and holding the group
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During this period
Pissarro began to understand and appreciate the importance of expressing on canvas the beauties of nature without adulteration. After a year in Paris, he therefore began to leave the city and paint scenes in the countryside to capture the daily reality of village life. He found the
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After his schooling, Pissarro returned to St. Thomas at the age of sixteen or seventeen, where his father advocated
Pissarro to work in his business as a port clerk. Nevertheless, Pissarro took every opportunity during those next five years at the job to practice drawing during breaks and after work.
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Corot would complete his paintings back in his studio, often revising them according to his preconceptions. Pissarro, however, preferred to finish his paintings outdoors, often at one sitting, which gave his work a more realistic feel. As a result, his art was sometimes criticised as being "vulgar,"
1669:. His work has been featured in exhibitions in Europe and the United States, and he was commissioned by the White House in 1959 to paint a portrait of U.S. President Dwight Eisenhower. He now lives and paints in Donegal, Ireland, with his wife Corinne also an accomplished artist and their children.
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In his older age
Pissarro suffered from a recurring eye infection that prevented him from working outdoors except in warm weather. As a result of this disability, he began painting outdoor scenes while sitting by the window of hotel rooms. He often chose hotel rooms on upper levels to get a broader
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planned a journal of their original prints in the late 1870s, a project that nevertheless came to nothing when Degas withdrew. Art historian and the artist's great-grandson Joachim Pissarro notes that they "professed a passionate disdain for the Salons and refused to exhibit at them." Together they
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Pissarro agreed with the group about the importance of portraying individuals in natural settings, and expressed his dislike of any artifice or grandeur in his works, despite what the Salon demanded for its exhibits. In 1863 almost all of the group's paintings were rejected by the Salon, and French
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descent and held French nationality. His mother was from a French-Jewish family from St. Thomas. His father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle, Isaac Petit, and married his widow. The marriage caused a stir within St. Thomas's small
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During the early 1930s throughout Europe, Jewish owners of numerous fine art masterpieces found themselves forced to give up or sell off their collections for minimal prices due to anti-Jewish laws created by the new Nazi regime. Many Jews were forced to flee Germany starting in 1933, and then, as
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When Pissarro returned to his home in France after the war, he discovered that of the 1,500 paintings he had done over 20 years, which he was forced to leave behind when he moved to London, only 40 remained. The rest had been damaged or destroyed by the soldiers, who often used them as floor mats
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In subsequent Salon exhibits of 1865 and 1866, Pissarro acknowledged his influences from Melbye and Corot, whom he listed as his masters in the catalogue. But in the exhibition of 1868 he no longer credited other artists as an influence, in effect declaring his independence as a painter. This was
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Cassatt had befriended Degas and Pissarro years earlier when she joined Pissarro's newly formed French Impressionist group and gave up opportunities to exhibit in the United States. She and Pissarro were often treated as "two outsiders" by the Salon since neither were French or had become French
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had called Pissarro the "most real and most naive member" of the Impressionist group. His work has also been described by art historian Diane Kelder as expressing "the same quiet dignity, sincerity, and durability that distinguished his person." She adds that "no member of the group did more to
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In later years, CĂ©zanne also recalled this period and referred to Pissarro as "the first Impressionist". In 1906, a few years after Pissarro's death, CĂ©zanne, then 67 and a role model for the new generation of artists, paid Pissarro a debt of gratitude by having himself listed in an exhibition
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The manner of painting was too sketchy and looked incomplete, especially compared to the traditional styles of the period. The use of visible and expressive brushwork by all the artists was considered an insult to the craft of traditional artists, who often spent weeks on their work. Here, the
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filed a restitution claim which resulted in years of court battle. The lawsuit resulted in the recognition of Meyer's ownership and its transfer to France for five years, coupled with an agreement to shuttle the painting back and forth between Paris and Oklahoma every three years after that.
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By the 1880s, Pissarro began to explore new themes and methods of painting to break out of what he felt was an artistic "mire". As a result, Pissarro went back to his earlier themes by painting the life of country people, which he had done in Venezuela in his youth. Degas described Pissarro's
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In addition, his work was strong enough to "bolster his morale and keep him going", he writes. His Impressionist contemporaries, however, continued to view his independence as a "mark of integrity", and they turned to him for advice, referring to him as "PĂšre Pissarro" (father Pissarro).
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Camille Pissarro is a pivotal character in the historical fiction novels, The Dream Collector, Books I & II by R.w. Meek, depicting his major role among the Impressionists and his open-mindedness toward the Post-Impressionist art of George Seurat, Paul Gauguin and Vincent van Gogh.
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owned valuables, including artwork, they were often sold to finance the Nazi war effort, sent to Hitler's personal museum, traded or seized by officials for personal gain. Several artworks by Pissarro were looted from their Jewish owners in Germany, France and elsewhere by the Nazis.
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All four works were considered an "exception" to the eighth exhibition. Joachim Pissarro notes that virtually every reviewer who commented on Pissarro's work noted "his extraordinary capacity to change his art, revise his position and take on new challenges." One critic writes:
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Pissarro explained the new art form as a "phase in the logical march of Impressionism", but he was alone among the other Impressionists with this attitude, however. Joachim Pissarro states that Pissarro thereby became the "only artist who went from Impressionism to
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on the other hand, writes, "Camille Pissarro has been a revolutionary through the revitalized working methods with which he has endowed painting". According to Rewald, Pissarro had taken on an attitude more simple and natural than the other artists. He writes:
1409:. In January 2011 the Spanish government denied a request by the US ambassador to return the painting. At the subsequent trial in Los Angeles, the court ruled that the Thyssen-Bornemisza Collection Foundation was the rightful owner. In 1999, Pissarro's 1897
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Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, CĂ©zanne, Seurat, Gauguin, and
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However, in 2020 Meyer filed suit in a French court to challenge the accord. After Fred Jones Jr Museum sued Meyer requesting heavy financial penalties, the Holocaust survivor abandoned her effort to recover the Pissarro, saying, "I have no other choice.
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1665:(dit Pomié), was born in 1935 in the western section of Paris, Neuilly-sur-Seine, and began to draw and paint as a young child under his father's tutelage. During his adolescence and early twenties he studied the works of the great masters at the
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688:, both of which places inspired many of his paintings including scenes of village life, along with rivers, woods, and people at work. He also kept in touch with the other artists of his earlier group, especially Monet, Renoir, CĂ©zanne, and
1231:"If we observe the totality of Pissarro's work, we find there, despite fluctuations, not only an extreme artistic will, never belied, but also an essentially intuitive, purebred art ... He was one of my masters and I do not deny him."
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near Paris. While a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a strong grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas.
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He soon reestablished his friendships with the other Impressionist artists of his earlier group, including CĂ©zanne, Monet, Manet, Renoir, and Degas. Pissarro now expressed his opinion to the group that he wanted an alternative to the
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976:"Rather than glorifyingâconsciously or notâthe rugged existence of the peasants, he placed them without any 'pose' in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life."
509:"Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."
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French countryside to be "picturesque," and worthy of being painted. It was still mostly agricultural and sometimes called the "golden age of the peasantry". Pissarro later explained the technique of painting outdoors to a student:
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However, after reverting to his earlier style, his work became, according to Rewald, "more subtle, his color scheme more refined, his drawing firmer ... So it was that Pissarro approached old age with an increased mastery."
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NewsOK reported on Aug. 18, 2015 that the university said "Shepherdess Bringing in Sheep" lacks the Nazi ERR stamp. Wesselhöft said the disappearance of the stamp means that somebody wanted to obscure the fact that Nazis stole
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1371:, a German Jewish industrialist whose renowned art collection was considered "one of the best in pre-war Germany", was seized and sold in a forced auction before Silberberg and his wife Johanna were murdered in Auschwitz.
1081:. The paintings that resulted were distinctly different from his Impressionist works, and were on display in the 1886 Impressionist Exhibition, but under a separate section, along with works by Seurat, Signac, and his son
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910:, which shocked and "horrified" the critics, who primarily appreciated only scenes portraying religious, historical, or mythological settings. They found fault with the Impressionist paintings on many grounds:
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shared an "almost militant resolution" against the Salon, and through their later correspondences it is clear that their mutual admiration "was based on a kinship of ethical as well as aesthetic concerns".
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and labels missing. Some, as a result of legal action, were later returned to the families of the original owners. Many of the recovered paintings were then donated to the same or other museums as a gift.
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The subject matter was considered "vulgar" and "commonplace," with scenes of street people going about their everyday lives. Pissarro's paintings, for instance, showed scenes of muddy, dirty, and unkempt
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from noting that the qualities of his paintings had been observed by art lovers. At the age of thirty-eight, Pissarro had begun to win himself a reputation as a landscapist to rival Corot and Daubigny.
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During his lifetime, Camille Pissarro sold few of his paintings. By the 21st century, however, his paintings were selling for millions. An auction record for the artist was set on 6 November 2007 at
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called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".
629:"It is marvelous. This is what I see in the art of this astonishing people ... nothing that leaps to the eye, a calm, a grandeur, an extraordinary unity, a rather subdued radiance ..."
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Neo-Impressionist Painters: A Sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo van Rysselberghe, Henri-Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet
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referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur".
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In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian
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381:, then living on St. Thomas, inspired him to take on painting as a full-time profession, becoming his teacher and friend. Pissarro then chose to leave his family and job and live in
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Albert Wolff complained in his review, "Try to make M. Pissarro understand that trees are not violet, that sky is not the color of fresh butter ..." Journalist and art critic
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outside in the mud to keep their boots clean. It is assumed that many of those lost were done in the Impressionist style he was then developing, thereby "documenting the birth of
723:, then a village on the edge of London. However, his style of painting, which was a forerunner of what was later called "Impressionism", did not do well. He wrote to his friend,
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3646:"Revealed: The oddball who hid ÂŁ1bn of art in his squalid flat... and the extraordinary story of how his father, who stole paintings for the Nazis, conned Allied investigators"
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The use of color by the Impressionists relied on new theories they developed, such as having shadows painted with the reflected light of surrounding, and often unseen, objects.
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1239:, who at one point lived in Paris to study art, and joined his Impressionist group, noted that he was "such a teacher that he could have taught the stones to draw correctly."
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1093:"It is difficult to speak of Camille Pissarro ... What we have here is a fighter from way back, a master who continually grows and courageously adapts to new theories."
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the Nazis expanded their hold over all of Europe, Austria, France, Holland, Poland, Italy and other countries. The Nazis created special looting organizations like the
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and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these paintings is a view of
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It was Pissarro's intention during this period to help "educate the public" by painting people at work or at home in realistic settings, without idealising their lives.
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566:. However, only works of Pissarro and CĂ©zanne were included, and the separate exhibit brought a hostile response from both the officials of the Salon and the public.
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In the decades after World War II, many art masterpieces were found on display in various galleries and museums in Europe and the United States, often with false
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1043:"Once such a die-hard Impressionist as Pissarro had turned his back on Impressionism, it was apparent that Impressionism had no chance of surviving ..."
466:, who tutored him. He and Corot shared a love of rural scenes painted from nature. It was by Corot that Pissarro was inspired to paint outdoors, also called "
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graduate, is also active in the art scene. From the only daughter of Camille, Jeanne Pissarro, other painters include Henri Bonin-Pissarro (1918â2003) and
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642:, England, he married his mother's maid, Julie Vellay, a vineyard grower's daughter, with whom he had seven children, six of whom would become painters:
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view. He moved around northern France and painted from hotels in Rouen, Paris, Le Havre and Dieppe. On his visits to London, he would do the same.
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mediate the internecine disputes that threatened at times to break it apart, and no one was a more diligent proselytizer of the new painting."
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However, this period also marked the end of the Impressionist period due to Pissarro's leaving the movement. As Joachim Pissarro points out:
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from 1872 to 1884. In 1890 he again visited England and painted some ten scenes of central London. He came back again in 1892, painting in
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578:"Camille Pissarro is one of the three or four true painters of this day ... I have rarely encountered a technique that is so sure."
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Pissarro eventually turned away from Neo-Impressionism, claiming its system was too artificial. He explains in a letter to a friend:
542:, Pissarro became friends with a number of younger artists who likewise chose to paint in the more realistic style. Among them were
393:. He drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks.
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3527:"An International Feud Over a Looted Pissarro Painting Comes to a Head as a French Court Rejects a Holocaust Survivor's Claim"
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only nine years younger than Pissarro, said that "he was a father for me. A man to consult and a little like the good Lord."
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ULAN Full Record Display for Camille Pissarro. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
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was taught painting by his father, and described him as a "splendid teacher, never imposing his personality on his pupil."
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419:, Fritz Melbye's brother and also a painter. He also studied paintings by other artists whose style impressed him:
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3466:"Looted Pissarro heiress LĂ©one Meyer, OU attorney Thaddeus Stauber speak on court clash over Nazi-looted painting"
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In 1859 his first painting was accepted and exhibited. His other paintings during that period were influenced by
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When Pissarro was twelve his father sent him to boarding school in France. He studied at the Savary Academy in
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3319:"A Dispute Over a Pissarro Painting Looted by Nazis Was Settled Four Years Ago. Now, It's Going Back to Court"
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4533:, exhibition held at the Sterling and Francine Clark Art Institute, Williamstown MA, 12 June â 2 October 2011
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3553:"'I Have No Other Choice': Holocaust Survivor Relinquishes Her Claim to a Looted Camille Pissarro Painting"
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4192:, 5 volumes, Presses Universitaires de France, Paris, 1980 & Editions du Valhermeil, Paris, 1986â1991
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in London. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the
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whose mission it was to seize Jewish property notably valuable artworks. When those forced into exile or
597:"The brightness of his palette envelops objects in atmosphere ... He paints the smell of the earth."
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said "he was a father for me. A man to consult and a little like the good Lord", and he was also one of
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area except for one of Bath Road, which runs from Stamford Brook along the south edge of Bedford Park.
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who was likewise in London during this period. They both viewed the work of British landscape artists
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of 1870â71, having only Danish nationality and being unable to join the army, he moved his family to
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circa 1847. Pissarro may have attended art classes taught by Sawkins and seen Sawkins's paintings of
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3886:"U.S. District Court confirms Thyssen-Bornemisza Collection Foundation of Spain as owner of artwork"
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in New York City and a professor in Hunter College's Art Department. Camille's great-granddaughter,
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1438:(the Four Seasons), sold for $ 14,601,000 (estimate $ 12,000,000 â $ 18,000,000). In November 2009
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Morning, Winter Sunshine, Frost, the Pont-Neuf, the Seine, the Louvre, Soleil D'hiver Gella Blanc
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His initial paintings were in accord with the standards at the time to be displayed at the Paris
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Pissarro with his family at his mobile easel, Ăragny, 1901. Archives MusĂ©e Camille Pissarro
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was another whose work he admired, especially his "sentimental renditions of rural life".
8:
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4147:"Buy Original Art & Painting of H. Claude Pissarro (b. 1935 - ) - Online Art Gallery"
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in Jerusalem, its donor having been unaware of its pre-war provenance. In January 2012,
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443:. But Pissarro eventually found their teaching methods "stifling," states art historian
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1298:(La BergĂšre Rentrant des Moutons") was looted from the Jewish art collectors Yvonne et
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praised his art and that of the others. In the Impressionist exhibit of 1876, however,
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4174:, New York 1943 & London 1944; 3rd revised edition, Paul P Appel Publishers, 1972
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was an Impressionist and Neo-impressionist painter as were his second and third sons
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and whose paintings had been sold at a 1942 auction in Nice that was overseen by the
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Exhibition Pissarro dans les ports, 2013, Museum of modern art AndrĂ© Malraux â MuMa
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4170:, Editions Albin Michel, Paris 1950; previously published, translated to English:
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1465:), sold at Sotheby's in London for ÂŁ19.9M, nearly five times the previous record.
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to Frederick Abraham Gabriel Pissarro and Rachel Manzano-Pomié. His father was of
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2679:
Eiermann, Wold (1999). "Camille Pissarro 1830â1903". In Becker, Christoph (ed.).
2664:
Hamilton, George Heard (1976). "Pissarro, Camille". In Halsey, William D. (ed.).
2419:, 1879, softground etching, aquatint, and drypoint on china paper (sixth state).
1647:
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in France in 1941 and transited via Switzerland and New York before entering the
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Pissarro showed five of his paintings, all landscapes, at the exhibit, and again
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paintings were often done in one sitting and the paints were applied wet-on-wet;
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In 1855, Pissarro moved back to Paris where he began working as an assistant to
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3496:"Oklahoma to France and Back Again? A Case of Split-Custody of Nazi-Looted Art"
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2009:
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259:
3836:"WikiLeaks Cables Make Appearance in a Tale of Sunken Treasure and Nazi Theft"
3294:"State rep calls for allowance of physical inspection of Nazi-stolen painting"
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Pissarro's "Le Quai Malaquais, Printemps", owned by German Jewish publisher
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435:. He also enrolled in various classes taught by masters, at schools such as
5323:
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3967:"Berlin museum restitutesâand then buys backâNazi-looted Pissarro painting"
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Pissarro's Picking Peas (La Cueillette) was looted from Jewish businessman
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restituted Pissarro's "A Square in La Roche-Guyon" (1867) to the heirs of
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3645:
3440:"Tulsa World Editorial: OU finally to return Nazi loot to rightful owner"
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1078:
1074:
902:, 1875. The new manner of painting was too sketchy and looked incomplete.
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instead decided to place their paintings in a separate exhibit hall, the
444:
330:
Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of
270:
263:
246:). His importance resides in his contributions to both Impressionism and
4350:
An Outline of 19th Century European Painting: From David through CĂ©zanne
3777:"UPDATE: OU, OU Foundation move to dismiss claims in Nazi-stolen paintâŠ"
3345:"University of Oklahoma fights claim to a Nazi-looted Pissarro painting"
2951:
2668:. Vol. 19. New York: Macmillan Educational Corporation. p. 83.
1730:
836:, and also in 1897, when he produced several oils described as being of
609:
for example had been skyed, hung near the ceiling, this did not prevent
5283:
4367:"Winter Sun: How Camille Pissarro Went from Mediocrity to Magnificence"
4274:, Cambridge University Press, Cambridge, New York & Oakleigh, 1993
4081:"Young Socialites Conjure the Ghost of Leonard Bernstein at the Dakota"
1375:
1212:
According to Pissarro's son, Lucien, his father painted regularly with
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856:
486:
3997:"Hunter College Performance Goals and Targets 2008â2009 Academic Year"
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4612:
4577:
Pissarro Paintings and Works on Paper at the Art Institute of Chicago
4507:
Camille Pissarro Protests Alfred Dreyfus' Conviction: Original Letter
3409:"French Heiress Ratchets Up Battle With US Over Nazi-Looted Painting"
2737:
Notable Caribbeans and Caribbean Americans: a Biographical Dictionary
2473:(Faneuses d'Eragny), 1897, etching, aquatint and dry-point on paper.
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833:
467:
390:
385:, where he and Melbye spent the next two years working as artists in
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163:
4520:
Photograph of Pissarro's mausoleum at CimetiĂšre PĂšre Lachaise, Paris
4393:
The Politics of Vision: Essays on Nineteenth-Century Art and Society
57:
4622:
3605:"French Court Orders Return of Pissarro Looted by Vichy Government"
3183:
1897:
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1734:(Le Labourage, BĂ©relles), c. 1860, oil on panel, Private Collection
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4496:(1925), John Lane the Bodley Head Ltd., translated by J. Lewis May
1405:, was discovered hanging at Madrid's government-owned museum, the
780:
prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and
758:
Through the paintings Pissarro completed at this time, he records
617:
In the late 1860s or early 1870s, Pissarro became fascinated with
3733:"Nazi-Looted Pissarro in Zurich Bank Pits Heiress Against Dealer"
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1224:
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639:
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and would often paint the road to Versailles in various seasons.
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38:
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4314:"The Painter's Painter: Pissarro Joins Impressionism's Pantheon"
4554:
4263:
3184:"'Doubting Thomas' â review of Derek Walcott's Tiepolo's Hound"
1666:
593:
Another writer tries to describe elements of Pissarro's style:
358:
claims that the young Pissarro was inspired by the artworks of
266:
when he took on the Neo-Impressionist style at the age of 54.
5557:
4029:"Christina Gallery expands its post-Impressionist collection"
3125:
2231:
1184:
Pissarro died in Paris on 13 November 1903 and was buried in
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735:
371:
343:
4596:
The John G. Johnson Collection: A History and Selected Works
2073:
Shepherdess Bringing in Sheep (BergĂšre rentrant des moutons)
1716:(Road in a Forest), 1859, oil on canvas, Private Collection
226:; 10 July 1830 â 13 November 1903) was a Danish-French
197:
4166:
Rewald, John, ed., with the assistance of Lucien Pissarro:
3672:"Nazi Art Theft: Pissarro's "Le Quai Malaquais, Printemps""
3100:
3089:
For more details of his British visits, see Nicholas Reed,
2451:
1204:
During the period Pissarro exhibited his works, art critic
727:, that "my painting doesn't catch on, not at all ..."
200:
4440:
Pissarro, Joachim; Snollaerts, Claire Durand-Ruel (2006).
4523:
4480:
Depths of Glory: A Biographical Novel of Camille Pissarro
1322:, in addition to 92 other artworks seized in 1943 by the
601:
And though, on orders from the hanging Committee and the
470:" painting. Pissarro found Corot, along with the work of
188:
3941:"BBC News â Pissarro painting sells for a record ÂŁ19.9m"
3579:"France Confirms Restitution Of Pissarro Looted In WWII"
4599:, a Philadelphia Museum of Art free digital publication
3376:"Will a Looted Pissarro End Up in Oklahoma, or France?"
1356:, passed through the hands of infamous Nazi art looter
4606:
2710:"'The Marriage of Opposites': Who Was Rachel Pissarro"
1654:(born 1921), who is the father of the Abstract artist
1257:
1109:
asked Pissarro if he would take in his older brother,
883:
so their group could display their own unique styles.
517:
3971:
The Art Newspaper - International art news and events
3752:"Art looted by Nazis continues to surface at auction"
3069:"Camille Pissarro: Paintings of Stamford Brook, 1897"
1638:, became Head Curator of Drawing and Painting at the
1440:
Le Pont Boieldieu et la Gare d'Orléans, Rouen, Soleil
250:. Pissarro studied from great forerunners, including
209:
194:
4738:
The House of the Deaf Woman and the Belfry at Eragny
3856:"Family fights to recover masterpiece lost to Nazis"
1341:
in Nazi-occupied Brussels, before being murdered in
926:
450:
185:
4792:
Rue Saint-Honoré, dans l'aprÚs-midi. Effet de pluie
4272:
The letters of Lucien to Camille Pissarro 1883â1903
3924:"Stolen impressionist art returned after 3 decades"
2365:, c. 1870, pen and brown ink over pencil on paper.
1788:
The Road to Versailles, Louveciennes: Morning Frost
1453:, originally owned by the German industrialist and
1399:One such lost piece, Pissarro's 1897 oil painting,
1388:
Rue Saint-Honoré, dans l'aprÚs-midi. Effet de pluie
586:Camille Pissarro and his wife, Julie Vellay, 1877,
191:
4439:
2572:List of claims for restitution for Nazi-looted art
1053:
906:The following year, in 1874, the group held their
891:Impressionist exhibitions that shocked the critics
481:
4832:The Garden of the Tuileries on a Winter Afternoon
3258:
2212:The Garden of the Tuileries on a Winter Afternoon
1476:, a French Jewish art collector whose family was
1037:subjects as "peasants working to make a living".
5577:
4812:Le Boulevard de Montmartre, Matinée de Printemps
2890:The Right to Look: A Counterhistory of Visuality
2534:Le Boulevard de Montmartre, Matinée de Printemps
2475:Strasbourg Museum of Modern and Contemporary Art
1573:Le Boulevard de Montmartre, Matinée de Printemps
1451:Le Boulevard de Montmartre, Matinée de Printemps
1412:Le Boulevard de Montmartre, Matinée de Printemps
1365:Le Boulevard de Montmartre, Matinée de Printemps
1029:, drypoint and aquatint, 1882, 123 mm x 112 mm.
981:catalogue as "Paul CĂ©zanne, pupil of Pissarro".
30:"Pissarro" redirects here. For the surname, see
4545:Union List of Artist Names, Getty Vocabularies.
4410:Camille Pissarro: The Audacity of Impressionism
3066:
2265:The Garden of the Tuileries on a Spring Morning
1484:. The museum then purchased the Pissarro back.
1116:
821:, and a lost painting of St. Stephen's Church.
784:and published in 1939. These paintings include
377:When Pissarro turned twenty-one, Danish artist
362:, a British painter and geologist who lived in
3213:. New York: Historium Press (published 2024).
3073:Brentford & Chiswick Local History Journal
2678:
2320:The Fish Market, Dieppe: Grey Weather, Morning
1806:Still Life: Apples and Pears in a Round Basket
1634:was also a painter. Camille's great-grandson,
1434:in New York, where a group of four paintings,
538:In 1859, while attending the free school, the
5656:People from Saint Thomas, U.S. Virgin Islands
4954:
4822:The Large Walnut Tree, Autumn Morning, Ăragny
4638:
3809:
2734:
2058:Route EnneigĂ©e avec maison, environs d'Ăragny
1536:Boulevard Montmartre, morning, cloudy weather
4426:Camille Pissarro: Le Premier Impressionniste
4186:
2930:
2537:, view from window, 1897, private collection
2165:, 1896. Metropolitan Museum of Art, New York
1993:, 1881. Metropolitan Museum of Art, New York
1554:The Boulevard Montmartre on a Winter Morning
4172:Camille Pissarro, Letters to his son Lucien
4168:Camille Pissarro, Lettres Ă son fils Lucien
2974:"Pissarro Exhibition PowerPoint with sound"
2928:
2926:
2924:
2922:
2920:
2918:
2916:
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2912:
2910:
1000:
570:noted at the time by art critic and author
5721:Danish people of Portuguese-Jewish descent
5706:French people of Portuguese-Jewish descent
4961:
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4645:
4631:
4078:
2855:
2853:
2851:
2849:
2847:
2845:
2843:
2739:. Greenwood Publishing. pp. 349â350.
2681:Camille Pissarro (exhibition in Stuttgart)
1402:Rue St. Honoré, Apres Midi, Effet de Pluie
56:
4557:site: works in public British collections
4442:Pissarro: Critical Catalogue of Paintings
3810:Muller, Melissa; Tatzkow, Monika (2010).
3669:
3463:
3263:(1st ed.). New York: HarperCollins.
3164:
3162:
3160:
2863:. Quantum Books. 2004. pp. 279â319.
2841:
2839:
2837:
2835:
2833:
2831:
2829:
2827:
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2823:
2771:"Camille Pissarro (1830 -1903) biography"
2764:
2762:
2760:
2758:
2756:
2659:
2657:
2606:
1482:Commissariat Général aux Questions Juives
766:at Lawrie Park Avenue, commonly known as
680:(1884â1972). They lived outside Paris in
4912:Frédéric Bonin-Pissarro (great-grandson)
4892:Orovida Camille Pissarro (granddaughter)
4764:Le Pont Boieldieu à Rouen, temps mouillé
4694:A Cowherd at Valhermeil, Auvers-sur-Oise
4589:LâĂźle Lacroix, Rouen (The Effect of Fog)
4580:, one of the Art Institute of Chicago's
4551:54 artworks by or after Camille Pissarro
4119:
4055:"The New Normal Generation â L'Officiel"
3373:
2937:, Art Gallery of New South Wales, (2005)
2907:
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1852:A Cowherd at Valhermeil, Auvers-sur-Oise
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400:
314:
306:Landscape with Farmhouses and Palm Trees
300:
258:. He later studied and worked alongside
4331:Clement, Russell T. and Houze, Annick,
4311:
4234:
4122:"ELLE Celebrates the 2017 Women in Art"
3730:
3643:
3550:
3524:
3131:
3120:The Private Lives of the Impressionists
3106:
2887:Mirzoeff, Nicholas (18 November 2011).
1599:
1191:
851:
824:Returning to France, Pissarro lived in
14:
5578:
4758:Pont Boieldieu in Rouen, Rainy Weather
4619:, Oxford, 18 February - 12 June, 2022.
4002:. Hunter College, CUNY. 18 June 2009.
3803:
3181:
3170:The Great Book of French Impressionism
3157:
2998:
2950:. St. Thomas Synagogue. Archived from
2893:. Duke University Press. p. 158.
2882:
2880:
2820:
2753:
2707:
2654:
2610:
2515:Pont Boieldieu in Rouen, Rainy Weather
2330:
1894:Toits rouges, coin d'un village, hiver
1810:The Henry and Rose Pearlman Collection
1576:, street view from hotel window, 1897
1127:Pont Boieldieu in Rouen, Rainy Weather
844:, but in fact all being of the nearby
4942:
4626:
4571:Camille Pissarro at The Jewish Museum
4566:Camille Pissarro Personal Manuscripts
4291:
3914:, N.Y. University Press (2003) p. 205
3712:from the original on 24 November 2010
3682:from the original on 24 November 2010
3602:
3476:from the original on 14 November 2021
3374:Carvajal, Doreen (17 December 2020).
3355:from the original on 10 December 2019
3172:, Abbeville Press (1980) pp. 127, 135
3045:, Chatto & Windus (2006). p. 230.
2728:
2708:Murphy, Jessica (14 September 2015).
2583:
2347:, 1852â54, graphite and ink on paper
2178:Place du Théùtre Français: Fog Effect
1700:ColecciĂłn Patricia Phelps de Cisneros
1679:List of paintings by Camille Pissarro
1609:The Artist's Palette with a Landscape
1488:Boulevard Montmartre cityscape series
221:
4907:LĂ©lia Pissarro (great-granddaughter)
4877:Georges Henri Manzana Pissarro (son)
4652:
4375:, 1 & 8 January 2024, pp. 53â57.
4009:from the original on 29 October 2013
3977:from the original on 18 October 2021
3787:from the original on 4 February 2021
3233:
3208:
2794:
2790:
2788:
2768:
2635:
2496:
2302:Ship entering the Harbor at Le Havre
2093:1887. Collection of G. Signac, Paris
4684:The Banks of the Oise near Pontoise
3862:. 23 September 2010. Archived from
3749:
3737:Commission for Looted Art in Europe
3603:Quinn, Annalisa (8 November 2017).
3437:
2877:
2629:
2504:The Banks of the Oise near Pontoise
1295:Shepherdess Bringing Home the Sheep
1258:The legacy of Nazi-looted Pissarros
695:
518:With Monet, CĂ©zanne, and Guillaumin
24:
5651:People from the Danish West Indies
4352:(1992), HarperCollins Publishers,
4285:
4188:Correspondance de Camille Pissarro
3731:Hickley, Catherine (6 June 2007).
3670:Koldehoff, Stephan (Summer 2007).
3576:
3091:Camille Pissarro at Crystal Palace
2800:Die Geschichte des Impressionismus
2529:, 1896, Metropolitan Museum of Art
2455:, 1887, etching on Holland paper.
2437:, 1880, pastel on beige wove paper
2417:The Woods at L'Hermitage, Pontoise
2215:, 1899, Metropolitan Museum of Art
1661:The grandson of Camille Pissarro,
730:Pissarro met the Paris art dealer
25:
5737:
5726:United States Virgin Islands Jews
5701:Burials at PĂšre Lachaise Cemetery
5676:19th-century French Sephardi Jews
4968:
4902:Hugues Claude Pissarro (grandson)
4613:Pissarro: Father of Impressionism
4500:
3644:Walters, Guy (13 November 2013).
3419:from the original on 21 June 2021
3291:
2785:
2025:Le jardin de Maubuisson, Pontoise
1917:The CĂŽte des BĆufs at L'Hermitage
1589:The Boulevard Montmartre at Night
750:, giving more depth to the work.
451:Paris Salon and Corot's influence
396:
310:GalerĂa de Arte Nacional, Caracas
5636:20th-century French male artists
5626:19th-century French male artists
5616:20th-century Danish male artists
5606:19th-century Danish male artists
5059:
4897:Claude Bonin-Pissarro (grandson)
4802:Boulevard Montmartre, Mardi Gras
4312:Carlson, Michael (12 May 1981).
4079:Widdicombe, Ben (24 June 2017).
3057:entry for Pissarro Lordship Lane
2481:
2463:
2442:
2427:
2409:
2388:
2373:
2352:
2337:
2312:
2294:
2276:
2257:
2239:
2220:
2203:
2188:
2170:
2153:
2135:
2116:
2098:
2083:
2065:
2050:
2032:
2017:
1998:
1981:
1962:
1943:
1928:
1909:
1886:
1864:
1843:
1820:
1798:
1780:
1761:
1739:
1721:
1706:
1685:
1581:
1564:
1546:
1528:
1518:Boulevard Montmartre: Mardi Gras
1510:
1492:
1282:Reichsleiter Rosenberg Taskforce
181:
162:
5716:Danish people of French descent
5711:French people of Creole descent
4782:Steamboats in the Port of Rouen
4772:Morning, An Overcast Day, Rouen
4591:by Camille Pissarro (cat. 1060)
4292:Baker, Kenneth (30 June 1981).
4160:
4139:
4113:
4072:
4047:
4021:
3989:
3959:
3933:
3917:
3904:
3878:
3848:
3828:
3769:
3743:
3724:
3694:
3663:
3637:
3596:
3570:
3544:
3518:
3502:. 12 April 2021. Archived from
3488:
3457:
3431:
3401:
3367:
3337:
3311:
3285:
3252:
3227:
3202:
3182:Thieme, John (September 2000).
3175:
3137:
3112:
3083:
3060:
3048:
3035:
3017:
2992:
2966:
2940:
2735:Mendez-Mendez, Serafin (2003).
2526:Steamboats in the Port of Rouen
2162:Morning, An Overcast Day, Rouen
1814:Princeton University Art Museum
1427:, was returned after 30 years.
1286:deported to extermination camps
1054:Studying with Seurat and Signac
482:Use of natural outdoor settings
5133:First Impressionist Exhibition
4603:An artwork by Camille Pissarro
4412:(2023). New York: Other Press
4184:Bailly-Herzberg, Janine, ed.:
3551:Cascone, Sarah (1 June 2021).
3525:Cascone, Sarah (14 May 2021).
3097:, published by Lilburne Press.
2701:
2672:
2640:. Fog City Press. p. 81.
1974:National Museum of Western Art
1672:
1624:Georges Henri Manzana Pissarro
1153:
908:First Impressionist Exhibition
648:Georges Henri Manzana Pissarro
296:
234:painter born on the island of
177:Jacob Abraham Camille Pissarro
78:Jacob Abraham Camille Pissarro
13:
1:
5671:French Impressionist painters
5666:French expatriates in England
5299:Marc-AurÚle de Foy Suzor-Coté
4748:Shepherdess Bringing in Sheep
4714:CĂŽte des BĆufs at L'Hermitage
4516:Shapell Manuscript Foundation
4465:(1961), Museum of Modern Art
4120:ELLE.com (16 November 2017).
3238:. New York: Historium Press.
3122:, HarperCollins (2006) p. 187
3003:. Harry Abrams. p. 458.
2683:. Ostfildern-Ruit, New York:
2577:
1698:, c. 1850â52, oil on canvas.
1324:Vichy collaborationist regime
1310:. In 2014, Meyer's daughter,
1242:Caribbean author and scholar
988:, and American impressionist
320:Two Women Chatting by the Sea
63:
5631:20th-century French painters
5621:19th-century French painters
5611:20th-century Danish painters
5601:19th-century Danish painters
4582:digital scholarly catalogues
4463:The History of Impressionism
3438:Writers, World's Editorial.
3236:The Dream Collector, Book II
3211:The Dream Collector, Books I
3001:The History of Impressionism
2638:Monet and the Impressionists
2556:, 1903, Tate Gallery, London
2457:Museum of Fine Arts, Houston
2401:, c. 1875, pastel on paper.
2228:La Place du Théùtre Français
1872:Un Carrefour Ă l'Hermitage,
1540:National Gallery of Victoria
1500:Boulevard Montmartre Ă Paris
1250:(2000), on Pissarro's life.
1246:based his book-length poem,
1117:Abandoning Neo-Impressionism
1063:La RĂ©colte des Foins, Eragny
900:Le grand noyer Ă l'Hermitage
753:
526:In 1869 Pissarro settled in
7:
5686:Ăcole des Beaux-Arts alumni
5468:French impressionist cinema
3577:Presse, AFP-Agence France.
2560:
2489:Paysanne Nouant son Foulard
1812:, on long-term loan to the
1423:(The Fish Market), a color
1235:The American impressionist
772:, in the collection of the
574:, who offered his opinion:
256:Jean-Baptiste-Camille Corot
10:
5742:
5509:Pennsylvania Impressionism
5057:
3259:FriedlÀnder, Saul (2007).
2547:National Gallery of Canada
2509:Indianapolis Museum of Art
2421:Metropolitan Museum of Art
2383:, c. 1872, pastel on paper
2269:Metropolitan Museum of Art
2124:Old Chelsea Bridge, London
1955:Metropolitan Museum of Art
1857:Metropolitan Museum of Art
1676:
1558:Metropolitan Museum of Art
1449:In February 2014 the 1897
1167:Metropolitan Museum of Art
1016:National Gallery of Canada
715:After the outbreak of the
605:, Pissarro's paintings of
410:Metropolitan Museum of Art
36:
29:
27:French painter (1830â1903)
5563:Pays des Impressionnistes
5532:
5476:
5450:
5357:Giovanni Battista Ciolina
5332:
5270:
5213:
5141:
5125:
5099:
5068:
4978:
4928:Pays des Impressionnistes
4920:
4887:Paul-Ămile Pissarro (son)
4864:
4852:The Louvre, Foggy Morning
4660:
4538:23 September 2015 at the
4294:"Pissarro in Perspective"
3702:"Pissarro Lost and Found"
3261:Nazi Germany and the Jews
2435:Boulevard de Rochechouart
1773:Thyssen-Bornemisza Museum
1468:In October 2021 Berlin's
1200:Camille Pissarro, c. 1900
425:Charles-François Daubigny
170:
161:
156:
152:
138:
130:
122:
106:
73:
55:
48:
5499:Decorative Impressionism
5494:California Impressionism
4395:(1991). Westview Press,
4335:(1999), Greenwood Press
3067:Seaton, Shirley (1997).
2196:Rouen, Rue de l'Ăpicerie
2147:Art Institute of Chicago
1442:sold for $ 7,026,500 at
1407:Museo Thyssen-Bornemisza
1393:Museo Thyssen-Bornemisza
1352:, founder of the famous
1001:Neo-Impressionist period
786:Lower Norwood Under Snow
764:St. Bartholomew's Church
611:Jules-Antoine Castagnary
37:Not to be confused with
5519:Synthetic impressionism
5484:Amsterdam Impressionism
5309:Helen Galloway McNicoll
5160:Frederick Carl Frieseke
4586:Jennifer A. Thompson, "
3690:– via Looted Art.
3147:, Crown (1975), p. 92.
3095:Pissarro in West London
2806:: Du Mont. p. 11.
2491:, 1882, pastel on paper
2381:Apple Trees at Pontoise
1896:, CĂŽte de Saint-Denis,
1656:Frédéric Bonin-Pissarro
1478:persecuted by the Nazis
1163:Two Young Peasant Women
927:A "revolutionary" style
603:Marquis de ChenneviĂšres
5696:Jewish School of Paris
5190:Walter Elmer Schofield
4187:
3134:, pp. 190, 238â9.
3043:The Judgement of Paris
2666:Collier's Encyclopedia
2636:Bade, Patrick (2003).
2520:Art Gallery of Ontario
2288:Honolulu Museum of Art
2251:Honolulu Museum of Art
2077:University of Oklahoma
1936:The Garden of Pontoise
1663:Hugues Claude Pissarro
1615:
1421:Le Marché aux Poissons
1396:
1308:University of Oklahoma
1276:
1201:
1186:PĂšre Lachaise Cemetery
1177:
1169:
1134:
1132:Art Gallery of Ontario
1066:
1033:
1019:
956:
942:
903:
867:
712:
590:
535:
501:
412:
327:
312:
5417:WĆadysĆaw PodkowiĆski
5155:William Merritt Chase
5046:Pierre-Auguste Renoir
4872:Lucien Pissarro (son)
4842:Hay Harvest at Ăragny
4724:The Harvest, Pontoise
4444:. Skira/Wildenstein.
2999:Rewald, John (1990).
2611:Rewald, John (1989).
2542:Hay Harvest at Ăragny
2403:Wildenstein Institute
1990:The Harvest, Pontoise
1652:Claude Bonin-Pissarro
1607:
1385:
1265:
1199:
1175:
1161:
1124:
1061:
1048:Pierre-Auguste Renoir
1027:Enfant tétant sa mÚre
1025:
1011:Hay Harvest at Ăragny
1008:
948:
934:
898:
859:
791:Lordship Lane Station
703:
667:Jeanne Bonin-Pissarro
656:Ludovic-Rodo Pissarro
634:Marriage and children
585:
525:
491:Entrée du village de
489:
406:Jalais Hill, Pontoise
404:
318:
304:
283:Pierre-Auguste Renoir
223:[kamijpisaÊo]
18:Ludovic Rodo Pissarro
5661:Danish Sephardi Jews
5646:French male painters
5641:Danish male painters
5324:Robert Wakeham Pilot
5314:James Wilson Morrice
5195:John Henry Twachtman
4882:FĂ©lix Pissarro (son)
4730:La RĂ©colte, Pontoise
4512:20 June 2014 at the
4428:(2024). Paris: Plon
4270:Thorold, Anne, ed.:
4241:Mary Cassatt: A Life
4236:Mathews, Nancy Mowll
4059:www.lofficielusa.com
3910:Mazyler, Michael J.
3812:Lost Lives, Lost Art
3109:, pp. 139, 149.
3025:"Road to Versailles"
2324:Dallas Museum of Art
2306:Dallas Museum of Art
2182:Dallas Museum of Art
2040:The Church at Eragny
1792:Dallas Museum of Art
1714:AllĂ©e dans une forĂȘt
1640:Museum of Modern Art
1630:. Lucien's daughter
1600:A family of painters
1470:Alte Nationalgalerie
1304:Fred Jones Jr Museum
1192:Legacy and influence
1105:In 1884, art dealer
852:French Impressionism
769:The Avenue, Sydenham
476:Jean-François Millet
437:Ăcole des Beaux-Arts
429:Jean-François Millet
5437:Philip Wilson Steer
5289:William Blair Bruce
5076:Gustave Caillebotte
4996:Gustave Caillebotte
4492:Tabarant, Adolphe,
3973:. 18 October 2021.
3783:. 4 February 2021.
3506:on 14 November 2021
3234:Meek, R.w. (2024).
3209:Meek, R.w. (2023).
3188:The Literary Review
2980:on 31 December 2009
2769:Pissarro, Joachim.
2615:. Harry N. Abrams.
2331:Drawings and prints
2091:Children on a Farm,
1613:Clark Art Institute
1345:in September 1942.
1335:Dr Henri Hinrichsen
1331:Sower And Ploughman
1312:Léonie-Noëlle Meyer
717:Franco-Prussian War
705:Bath Road, Chiswick
678:Paul-Ămile Pissarro
5546:The Impressionists
5514:Post-Impressionism
5392:Konstantin Korovin
5242:Frederick McCubbin
5086:Henry O. Havemeyer
4674:La Petite Fabrique
4482:(1985). Doubleday
4379:Lloyd, Christopher
4318:The Boston Phoenix
4298:The Boston Phoenix
4085:The New York Times
3841:The New York Times
3750:Parsons, Michael.
3609:The New York Times
3500:Center for Art Law
3380:The New York Times
3143:Cogniat, Raymond,
3029:Walters Art Museum
2685:Hatje Cantz Verlag
2044:Walters Art Museum
1951:Washerwoman, Study
1827:Camille Pissarro,
1769:The Woods at Marly
1616:
1436:Les Quatre Saisons
1397:
1339:Hildebrand Gurlitt
1277:
1202:
1178:
1170:
1135:
1067:
1034:
1020:
957:
943:
936:Orchard in Bloom,
904:
868:
816:All Saints Church
796:The Crystal Palace
778:catalogue raisonné
713:
591:
536:
532:Walters Art Museum
502:
413:
328:
313:
248:Post-Impressionism
244:Danish West Indies
242:, but then in the
147:Post-Impressionism
100:Danish West Indies
62:Camille Pissarro,
32:Pissarro (surname)
5571:
5570:
5504:Neo-Impressionism
5372:Antoine Guillemet
5352:Marie Bracquemond
5319:Laura Muntz Lyall
5185:Theodore Robinson
5180:Lilla Cabot Perry
5016:Armand Guillaumin
4936:
4935:
4857:
4847:
4837:
4827:
4817:
4807:
4797:
4787:
4777:
4767:
4753:
4743:
4733:
4719:
4709:
4699:
4689:
4679:
4668:List of paintings
4531:Pissarro's People
4255:978-0-394-58497-3
4101:on 1 January 2022
3947:. 6 February 2014
3930:, 25 January 2012
3912:Holocaust Justice
3844:. 6 January 2011.
3821:978-0-86565-263-7
3814:. Vendome Press.
3625:on 1 January 2022
3351:. 15 March 2015.
3349:Los Angeles Times
3325:. 2 November 2020
3270:978-0-06-019042-2
3245:978-1-962465-34-2
3220:978-1-962465-13-7
2900:978-0-8223-4918-1
2861:The Great Masters
2781:on 19 March 2012.
2497:List of paintings
2471:Tedders of Eragny
1354:S. Fischer Verlag
1100:Neo-Impressionism
676:(1881â1948), and
564:Salon des Refusés
548:Armand Guillaumin
360:James Gay Sawkins
356:Nicholas Mirzoeff
336:Portuguese Jewish
240:US Virgin Islands
232:Neo-Impressionist
174:
173:
16:(Redirected from
5733:
5586:Camille Pissarro
5548:(2006 TV series)
5540:Wilfrid de Glehn
5412:NadeĆŸda PetroviÄ
5377:Nazmi Ziya GĂŒran
5276:
5219:
5170:Alphonse Maureau
5147:
5117:Ambroise Vollard
5107:Paul Durand-Ruel
5063:
5041:Camille Pissarro
4986:Frédéric Bazille
4972:
4963:
4956:
4949:
4940:
4939:
4855:
4845:
4835:
4825:
4815:
4805:
4795:
4785:
4775:
4761:
4751:
4741:
4727:
4717:
4707:
4697:
4687:
4677:
4654:Camille Pissarro
4647:
4640:
4633:
4624:
4623:
4617:Ashmolean Museum
4455:
4420:(Translation by
4385:. Skira Rizzoli.
4383:Camille Pissarro
4328:
4326:
4324:
4308:
4306:
4304:
4267:
4190:
4155:
4154:
4151:www.pissarro.art
4143:
4137:
4136:
4134:
4132:
4117:
4111:
4110:
4108:
4106:
4100:
4095:. Archived from
4076:
4070:
4069:
4067:
4065:
4051:
4045:
4044:
4042:
4040:
4025:
4019:
4018:
4016:
4014:
4008:
4001:
3993:
3987:
3986:
3984:
3982:
3963:
3957:
3956:
3954:
3952:
3937:
3931:
3921:
3915:
3908:
3902:
3901:
3899:
3897:
3882:
3876:
3875:
3873:
3871:
3866:on 18 March 2012
3852:
3846:
3845:
3832:
3826:
3825:
3807:
3801:
3800:
3794:
3792:
3773:
3767:
3766:
3764:
3762:
3747:
3741:
3740:
3728:
3722:
3721:
3719:
3717:
3698:
3692:
3691:
3689:
3687:
3667:
3661:
3660:
3658:
3656:
3641:
3635:
3634:
3632:
3630:
3624:
3619:. Archived from
3600:
3594:
3593:
3591:
3589:
3574:
3568:
3567:
3565:
3563:
3548:
3542:
3541:
3539:
3537:
3522:
3516:
3515:
3513:
3511:
3492:
3486:
3485:
3483:
3481:
3461:
3455:
3454:
3452:
3450:
3435:
3429:
3428:
3426:
3424:
3405:
3399:
3398:
3396:
3394:
3371:
3365:
3364:
3362:
3360:
3341:
3335:
3334:
3332:
3330:
3315:
3309:
3308:
3306:
3304:
3289:
3283:
3282:
3256:
3250:
3249:
3231:
3225:
3224:
3206:
3200:
3199:
3197:
3195:
3179:
3173:
3166:
3155:
3141:
3135:
3129:
3123:
3116:
3110:
3104:
3098:
3087:
3081:
3080:
3064:
3058:
3052:
3046:
3039:
3033:
3032:
3021:
3015:
3014:
2996:
2990:
2989:
2987:
2985:
2976:. Archived from
2970:
2964:
2963:
2961:
2959:
2954:on 25 March 2010
2944:
2938:
2935:Camille Pissarro
2932:
2905:
2904:
2884:
2875:
2874:
2857:
2818:
2817:
2792:
2783:
2782:
2777:. Archived from
2766:
2751:
2750:
2732:
2726:
2725:
2723:
2721:
2716:on 25 April 2017
2712:. Archived from
2705:
2699:
2698:
2676:
2670:
2669:
2661:
2652:
2651:
2633:
2627:
2626:
2613:Camille Pissarro
2608:
2485:
2467:
2446:
2431:
2413:
2392:
2377:
2367:Ashmolean Museum
2356:
2341:
2316:
2298:
2280:
2261:
2243:
2224:
2207:
2192:
2174:
2157:
2139:
2120:
2102:
2087:
2069:
2054:
2036:
2021:
2002:
1985:
1966:
1947:
1932:
1921:National Gallery
1913:
1890:
1868:
1847:
1836:National Gallery
1824:
1802:
1784:
1765:
1743:
1725:
1710:
1689:
1636:Joachim Pissarro
1632:Orovida Pissarro
1593:National Gallery
1585:
1568:
1550:
1532:
1514:
1504:Hermitage Museum
1496:
1415:appeared in the
1206:Armand Silvestre
782:Lionello Venturi
774:National Gallery
732:Paul Durand-Ruel
709:Ashmolean Museum
696:The London years
690:Frédéric Bazille
675:
664:
364:Charlotte Amalie
354:Visual theorist
225:
220:
213:
207:
206:
203:
202:
199:
196:
193:
190:
187:
166:
113:
110:13 November 1903
92:Charlotte Amalie
87:
85:
68:
65:
60:
50:Camille Pissarro
46:
45:
21:
5741:
5740:
5736:
5735:
5734:
5732:
5731:
5730:
5691:School of Paris
5681:Jewish painters
5576:
5575:
5572:
5567:
5528:
5472:
5446:
5442:Eliseu Visconti
5432:JoaquĂn Sorolla
5407:Francisco Oller
5397:MartĂn Malharro
5342:EugĂšne Baudouin
5334:
5328:
5294:William Brymner
5274:
5272:
5266:
5257:Arthur Streeton
5232:E. Phillips Fox
5217:
5215:
5209:
5175:Willard Metcalf
5145:
5143:
5137:
5121:
5095:
5091:Ernest Hoschedé
5081:Victor Chocquet
5064:
5055:
4974:
4970:
4967:
4937:
4932:
4916:
4860:
4704:Ploughed Fields
4656:
4651:
4540:Wayback Machine
4514:Wayback Machine
4503:
4452:
4406:Muhlstein, Anka
4322:
4320:
4302:
4300:
4288:
4286:Further reading
4256:
4163:
4158:
4145:
4144:
4140:
4130:
4128:
4118:
4114:
4104:
4102:
4077:
4073:
4063:
4061:
4053:
4052:
4048:
4038:
4036:
4027:
4026:
4022:
4012:
4010:
4006:
3999:
3995:
3994:
3990:
3980:
3978:
3965:
3964:
3960:
3950:
3948:
3939:
3938:
3934:
3922:
3918:
3909:
3905:
3895:
3893:
3884:
3883:
3879:
3869:
3867:
3854:
3853:
3849:
3834:
3833:
3829:
3822:
3808:
3804:
3790:
3788:
3775:
3774:
3770:
3760:
3758:
3756:The Irish Times
3748:
3744:
3729:
3725:
3715:
3713:
3708:. Artnet News.
3700:
3699:
3695:
3685:
3683:
3668:
3664:
3654:
3652:
3642:
3638:
3628:
3626:
3601:
3597:
3587:
3585:
3583:www.barrons.com
3575:
3571:
3561:
3559:
3549:
3545:
3535:
3533:
3523:
3519:
3509:
3507:
3494:
3493:
3489:
3479:
3477:
3464:Blake Douglas.
3462:
3458:
3448:
3446:
3436:
3432:
3422:
3420:
3407:
3406:
3402:
3392:
3390:
3372:
3368:
3358:
3356:
3343:
3342:
3338:
3328:
3326:
3317:
3316:
3312:
3302:
3300:
3292:Clark, Andrew.
3290:
3286:
3271:
3257:
3253:
3246:
3232:
3228:
3221:
3207:
3203:
3193:
3191:
3180:
3176:
3168:Kelder, Diane.
3167:
3158:
3142:
3138:
3130:
3126:
3117:
3113:
3105:
3101:
3088:
3084:
3065:
3061:
3053:
3049:
3040:
3036:
3023:
3022:
3018:
3011:
2997:
2993:
2983:
2981:
2972:
2971:
2967:
2957:
2955:
2946:
2945:
2941:
2933:
2908:
2901:
2885:
2878:
2871:
2859:
2858:
2821:
2814:
2793:
2786:
2767:
2754:
2747:
2733:
2729:
2719:
2717:
2706:
2702:
2695:
2677:
2673:
2662:
2655:
2648:
2634:
2630:
2623:
2609:
2584:
2580:
2563:
2499:
2492:
2486:
2477:
2468:
2459:
2447:
2438:
2432:
2423:
2414:
2405:
2393:
2384:
2378:
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2348:
2342:
2333:
2326:
2317:
2308:
2299:
2290:
2281:
2272:
2262:
2253:
2244:
2235:
2225:
2216:
2208:
2199:
2193:
2184:
2175:
2166:
2158:
2149:
2145:, Paris, 1893.
2140:
2131:
2121:
2112:
2103:
2094:
2088:
2079:
2070:
2061:
2055:
2046:
2037:
2028:
2022:
2013:
2003:
1994:
1986:
1977:
1967:
1958:
1948:
1939:
1933:
1924:
1914:
1905:
1891:
1882:
1869:
1860:
1848:
1839:
1825:
1816:
1803:
1794:
1785:
1776:
1766:
1757:
1744:
1735:
1726:
1717:
1711:
1702:
1690:
1681:
1675:
1648:Barnard College
1602:
1595:
1586:
1577:
1569:
1560:
1551:
1542:
1533:
1524:
1515:
1506:
1497:
1474:Armand Dorville
1333:, was owned by
1260:
1248:Tiepolo's Hound
1221:Lucien Pissarro
1194:
1156:
1119:
1069:In 1885 he met
1056:
1003:
929:
893:
854:
805:Dulwich College
798:relocated from
756:
744:J. M. W. Turner
698:
669:
658:
644:Lucien Pissarro
636:
619:Japanese prints
540:Académie Suisse
520:
484:
472:Gustave Courbet
453:
441:Académie Suisse
399:
299:
252:Gustave Courbet
218:
211:
184:
180:
145:
118:
115:
111:
102:
89:
83:
81:
80:
79:
69:
66:
51:
42:
35:
28:
23:
22:
15:
12:
11:
5:
5739:
5729:
5728:
5723:
5718:
5713:
5708:
5703:
5698:
5693:
5688:
5683:
5678:
5673:
5668:
5663:
5658:
5653:
5648:
5643:
5638:
5633:
5628:
5623:
5618:
5613:
5608:
5603:
5598:
5593:
5588:
5569:
5568:
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5565:
5560:
5555:
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5542:
5536:
5534:
5530:
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5527:
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5516:
5511:
5506:
5501:
5496:
5491:
5486:
5480:
5478:
5474:
5473:
5471:
5470:
5465:
5460:
5454:
5452:
5448:
5447:
5445:
5444:
5439:
5434:
5429:
5424:
5422:Valentin Serov
5419:
5414:
5409:
5404:
5399:
5394:
5389:
5387:Max Liebermann
5384:
5382:Dominique Lang
5379:
5374:
5369:
5364:
5359:
5354:
5349:
5347:Olga BoznaĆska
5344:
5338:
5336:
5330:
5329:
5327:
5326:
5321:
5316:
5311:
5306:
5304:Maurice Cullen
5301:
5296:
5291:
5286:
5280:
5278:
5268:
5267:
5265:
5264:
5262:Walter Withers
5259:
5254:
5249:
5244:
5239:
5234:
5229:
5227:Charles Conder
5223:
5221:
5211:
5210:
5208:
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5202:
5197:
5192:
5187:
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5149:
5139:
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5129:
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5123:
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5120:
5119:
5114:
5109:
5103:
5101:
5097:
5096:
5094:
5093:
5088:
5083:
5078:
5072:
5070:
5066:
5065:
5058:
5056:
5054:
5053:
5048:
5043:
5038:
5036:Berthe Morisot
5033:
5028:
5023:
5021:Johan Jongkind
5018:
5013:
5008:
5003:
4998:
4993:
4988:
4982:
4980:
4976:
4975:
4966:
4965:
4958:
4951:
4943:
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4924:
4922:
4918:
4917:
4915:
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4909:
4904:
4899:
4894:
4889:
4884:
4879:
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4868:
4866:
4862:
4861:
4859:
4858:
4848:
4838:
4828:
4818:
4808:
4798:
4788:
4778:
4768:
4754:
4744:
4734:
4720:
4710:
4700:
4690:
4680:
4678:(c. 1862â1865)
4670:
4664:
4662:
4658:
4657:
4650:
4649:
4642:
4635:
4627:
4621:
4620:
4615:Exhibition at
4610:
4600:
4584:
4573:
4568:
4563:
4558:
4548:
4542:
4527:
4517:
4502:
4501:External links
4499:
4498:
4497:
4490:
4473:
4456:
4450:
4437:
4422:Adriana Hunter
4418:978-1635421705
4403:
4389:Nochlin, Linda
4386:
4376:
4372:The New Yorker
4360:
4346:Eitner, Lorenz
4343:
4329:
4309:
4287:
4284:
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4268:
4254:
4232:
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4112:
4071:
4046:
4035:. 30 July 2014
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3124:
3111:
3099:
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3047:
3034:
3016:
3010:978-0810960367
3009:
2991:
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2899:
2876:
2870:978-1861607577
2869:
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2700:
2693:
2671:
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2646:
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2621:
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2579:
2576:
2575:
2574:
2569:
2567:Jewish culture
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2559:
2558:
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2538:
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2522:
2511:
2498:
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2462:
2460:
2448:
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2426:
2424:
2415:
2408:
2406:
2398:Ludovic Piette
2394:
2387:
2385:
2379:
2372:
2370:
2358:
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2332:
2329:
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2209:
2202:
2200:
2194:
2187:
2185:
2176:
2169:
2167:
2159:
2152:
2150:
2143:Place du Havre
2141:
2134:
2132:
2130:Museum of Arts
2122:
2115:
2113:
2104:
2097:
2095:
2089:
2082:
2080:
2071:
2064:
2062:
2056:
2049:
2047:
2038:
2031:
2029:
2023:
2016:
2014:
2010:Artizon Museum
2004:
1997:
1995:
1987:
1980:
1978:
1968:
1961:
1959:
1949:
1942:
1940:
1934:
1927:
1925:
1915:
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1804:
1797:
1795:
1786:
1779:
1777:
1767:
1760:
1758:
1747:ChĂątaignier Ă
1745:
1738:
1736:
1727:
1720:
1718:
1712:
1705:
1703:
1691:
1684:
1677:Main article:
1674:
1671:
1644:LĂ©lia Pissarro
1628:FĂ©lix Pissarro
1618:Camille's son
1601:
1598:
1597:
1596:
1587:
1580:
1578:
1570:
1563:
1561:
1552:
1545:
1543:
1534:
1527:
1525:
1516:
1509:
1507:
1498:
1491:
1489:
1459:Max Silberberg
1369:Max Silberberg
1350:Samuel Fischer
1259:
1256:
1233:
1232:
1193:
1190:
1155:
1152:
1143:
1142:
1118:
1115:
1095:
1094:
1071:Georges Seurat
1055:
1052:
1031:British Museum
1002:
999:
978:
977:
969:Octave Mirbeau
950:The Hay Cart,
928:
925:
924:
923:
920:
916:
892:
889:
853:
850:
846:Stamford Brook
755:
752:
740:John Constable
725:Théodore Duret
697:
694:
652:FĂ©lix Pissarro
635:
632:
631:
630:
599:
598:
580:
579:
519:
516:
511:
510:
483:
480:
452:
449:
398:
397:Life in France
395:
298:
295:
260:Georges Seurat
172:
171:
168:
167:
159:
158:
154:
153:
150:
149:
140:
136:
135:
132:
131:Known for
128:
127:
126:Danish, French
124:
120:
119:
116:
114:(aged 73)
108:
104:
103:
90:
77:
75:
71:
70:
61:
53:
52:
49:
26:
9:
6:
4:
3:
2:
5738:
5727:
5724:
5722:
5719:
5717:
5714:
5712:
5709:
5707:
5704:
5702:
5699:
5697:
5694:
5692:
5689:
5687:
5684:
5682:
5679:
5677:
5674:
5672:
5669:
5667:
5664:
5662:
5659:
5657:
5654:
5652:
5649:
5647:
5644:
5642:
5639:
5637:
5634:
5632:
5629:
5627:
5624:
5622:
5619:
5617:
5614:
5612:
5609:
5607:
5604:
5602:
5599:
5597:
5594:
5592:
5589:
5587:
5584:
5583:
5581:
5574:
5564:
5561:
5559:
5556:
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5549:
5547:
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5541:
5538:
5537:
5535:
5531:
5525:
5522:
5520:
5517:
5515:
5512:
5510:
5507:
5505:
5502:
5500:
5497:
5495:
5492:
5490:
5489:Boston School
5487:
5485:
5482:
5481:
5479:
5475:
5469:
5466:
5464:
5461:
5459:
5456:
5455:
5453:
5449:
5443:
5440:
5438:
5435:
5433:
5430:
5428:
5425:
5423:
5420:
5418:
5415:
5413:
5410:
5408:
5405:
5403:
5400:
5398:
5395:
5393:
5390:
5388:
5385:
5383:
5380:
5378:
5375:
5373:
5370:
5368:
5365:
5363:
5362:Lovis Corinth
5360:
5358:
5355:
5353:
5350:
5348:
5345:
5343:
5340:
5339:
5337:
5331:
5325:
5322:
5320:
5317:
5315:
5312:
5310:
5307:
5305:
5302:
5300:
5297:
5295:
5292:
5290:
5287:
5285:
5282:
5281:
5279:
5277:
5269:
5263:
5260:
5258:
5255:
5253:
5250:
5248:
5245:
5243:
5240:
5238:
5237:Elioth Gruner
5235:
5233:
5230:
5228:
5225:
5224:
5222:
5220:
5212:
5206:
5205:J. Alden Weir
5203:
5201:
5200:Robert Vonnoh
5198:
5196:
5193:
5191:
5188:
5186:
5183:
5181:
5178:
5176:
5173:
5171:
5168:
5166:
5165:Childe Hassam
5163:
5161:
5158:
5156:
5153:
5152:
5150:
5148:
5140:
5134:
5131:
5130:
5128:
5124:
5118:
5115:
5113:
5112:Georges Petit
5110:
5108:
5105:
5104:
5102:
5098:
5092:
5089:
5087:
5084:
5082:
5079:
5077:
5074:
5073:
5071:
5067:
5062:
5052:
5051:Alfred Sisley
5049:
5047:
5044:
5042:
5039:
5037:
5034:
5032:
5029:
5027:
5026:Ădouard Manet
5024:
5022:
5019:
5017:
5014:
5012:
5009:
5007:
5004:
5002:
4999:
4997:
4994:
4992:
4991:EugĂšne Boudin
4989:
4987:
4984:
4983:
4981:
4977:
4973:
4971:Impressionism
4964:
4959:
4957:
4952:
4950:
4945:
4944:
4941:
4929:
4926:
4925:
4923:
4919:
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4908:
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4903:
4900:
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4895:
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4885:
4883:
4880:
4878:
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4854:
4853:
4849:
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4834:
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4829:
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4813:
4809:
4804:
4803:
4799:
4794:
4793:
4789:
4784:
4783:
4779:
4774:
4773:
4769:
4765:
4760:
4759:
4755:
4750:
4749:
4745:
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4735:
4731:
4726:
4725:
4721:
4716:
4715:
4711:
4706:
4705:
4701:
4696:
4695:
4691:
4686:
4685:
4681:
4676:
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4663:
4659:
4655:
4648:
4643:
4641:
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4634:
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4618:
4614:
4611:
4608:
4604:
4601:
4598:
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4583:
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4559:
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4552:
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4541:
4537:
4534:
4532:
4528:
4525:
4521:
4518:
4515:
4511:
4508:
4505:
4504:
4495:
4491:
4489:
4485:
4481:
4477:
4476:Stone, Irving
4474:
4472:
4471:0-8109-6035-4
4468:
4464:
4460:
4457:
4453:
4451:88-7624-525-1
4447:
4443:
4438:
4435:
4434:9782259319607
4431:
4427:
4423:
4419:
4415:
4411:
4407:
4404:
4402:
4401:0-06-430187-7
4398:
4394:
4390:
4387:
4384:
4380:
4377:
4374:
4373:
4368:
4364:
4361:
4359:
4358:0-06-430223-7
4355:
4351:
4347:
4344:
4342:
4341:0-313-30382-7
4338:
4334:
4330:
4319:
4315:
4310:
4299:
4295:
4290:
4289:
4281:
4280:0-521-39034-6
4277:
4273:
4269:
4265:
4261:
4257:
4251:
4247:
4246:Villard Books
4243:
4242:
4237:
4233:
4231:
4230:2-905684-35-6
4227:
4223:
4222:2-905684-17-8
4219:
4215:
4214:2-905684-09-7
4211:
4207:
4206:2-905684-05-4
4203:
4199:
4198:2-13-036694-5
4195:
4191:
4189:
4183:
4181:
4180:0-911858-22-9
4177:
4173:
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4165:
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3599:
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3573:
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3505:
3501:
3497:
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3475:
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3418:
3414:
3410:
3404:
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3385:
3381:
3377:
3370:
3354:
3350:
3346:
3340:
3324:
3320:
3314:
3299:
3295:
3288:
3280:
3276:
3272:
3266:
3262:
3255:
3247:
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3230:
3222:
3216:
3212:
3205:
3189:
3185:
3178:
3171:
3165:
3163:
3161:
3154:
3153:0-517-52477-5
3150:
3146:
3140:
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3128:
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2838:
2836:
2834:
2832:
2830:
2828:
2826:
2824:
2815:
2809:
2805:
2802:(in German).
2801:
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2791:
2789:
2780:
2776:
2772:
2765:
2763:
2761:
2759:
2757:
2748:
2746:9780313314438
2742:
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2731:
2715:
2711:
2704:
2696:
2694:9783775708616
2690:
2687:. p. 1.
2686:
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2660:
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2647:9781740895101
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2622:9780810914995
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2568:
2565:
2564:
2555:
2554:
2553:Self-portrait
2550:
2548:
2544:
2543:
2539:
2536:
2535:
2531:
2528:
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2523:
2521:
2517:
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2510:
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2501:
2500:
2490:
2484:
2479:
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2466:
2461:
2458:
2454:
2453:
2450:Landscape in
2445:
2440:
2436:
2430:
2425:
2422:
2418:
2412:
2407:
2404:
2400:
2399:
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2363:
2362:Upper Norwood
2355:
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2321:
2315:
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2266:
2260:
2255:
2252:
2248:
2247:View of Rouen
2242:
2237:
2234:, Los Angeles
2233:
2229:
2223:
2218:
2214:
2213:
2206:
2201:
2197:
2191:
2186:
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2173:
2168:
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2151:
2148:
2144:
2138:
2133:
2129:
2128:Smith College
2125:
2119:
2114:
2110:
2109:
2101:
2096:
2092:
2086:
2081:
2078:
2074:
2068:
2063:
2059:
2053:
2048:
2045:
2041:
2035:
2030:
2026:
2020:
2015:
2011:
2007:
2001:
1996:
1992:
1991:
1984:
1979:
1975:
1971:
1965:
1960:
1956:
1952:
1946:
1941:
1937:
1931:
1926:
1922:
1918:
1912:
1907:
1903:
1902:Musée d'Orsay
1899:
1895:
1889:
1884:
1880:
1879:Musée Malraux
1876:
1875:
1867:
1862:
1858:
1854:
1853:
1846:
1841:
1837:
1833:
1832:
1823:
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1807:
1801:
1796:
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1778:
1774:
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1764:
1759:
1755:
1754:Musée d'Orsay
1751:
1750:
1742:
1737:
1733:
1732:
1724:
1719:
1715:
1709:
1704:
1701:
1697:
1696:
1688:
1683:
1682:
1680:
1670:
1668:
1664:
1659:
1658:(born 1964).
1657:
1653:
1649:
1645:
1641:
1637:
1633:
1629:
1625:
1621:
1614:
1610:
1606:
1594:
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1574:
1567:
1562:
1559:
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1549:
1544:
1541:
1537:
1531:
1526:
1523:
1522:Hammer Museum
1519:
1513:
1508:
1505:
1501:
1495:
1490:
1487:
1486:
1485:
1483:
1479:
1475:
1471:
1466:
1464:
1460:
1456:
1452:
1447:
1446:in New York.
1445:
1441:
1437:
1433:
1428:
1426:
1422:
1418:
1417:Israel Museum
1414:
1413:
1408:
1404:
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1287:
1283:
1274:
1270:
1269:
1268:Self-portrait
1264:
1255:
1251:
1249:
1245:
1244:Derek Walcott
1240:
1238:
1230:
1229:
1228:
1226:
1222:
1218:
1215:
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1207:
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1189:
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1151:
1147:
1140:
1139:
1138:
1133:
1129:
1128:
1123:
1114:
1112:
1108:
1107:Theo van Gogh
1103:
1101:
1092:
1091:
1090:
1086:
1084:
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1072:
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921:
917:
913:
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911:
909:
901:
897:
888:
884:
882:
876:
874:
873:Impressionism
865:
864:
861:Landscape at
858:
849:
847:
843:
839:
835:
831:
827:
822:
820:
819:
818:Upper Norwood
813:
812:
811:Sydenham Hill
807:
806:
801:
797:
793:
792:
787:
783:
779:
775:
771:
770:
765:
761:
751:
749:
745:
741:
737:
733:
728:
726:
722:
718:
710:
706:
702:
693:
691:
687:
684:and later in
683:
679:
673:
668:
665:(1878â1952),
662:
657:
654:(1874â1897),
653:
650:(1871â1961),
649:
646:(1863â1944),
645:
641:
628:
627:
626:
624:
620:
615:
612:
608:
604:
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589:
584:
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555:
553:
549:
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541:
533:
529:
524:
515:
508:
507:
506:
499:
498:Musée d'Orsay
495:
494:
488:
479:
477:
473:
469:
465:
464:Camille Corot
460:
458:
448:
446:
442:
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394:
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372:Mitla, Mexico
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228:Impressionist
224:
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178:
169:
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155:
151:
148:
144:
143:Impressionism
141:
137:
133:
129:
125:
121:
117:Paris, France
109:
105:
101:
97:
93:
76:
72:
59:
54:
47:
44:
40:
33:
19:
5573:
5545:
5367:Eva GonzalĂšs
5252:John Russell
5040:
5031:Claude Monet
5006:Paul CĂ©zanne
5001:Mary Cassatt
4850:
4840:
4830:
4820:
4810:
4800:
4790:
4780:
4770:
4763:
4756:
4746:
4736:
4729:
4722:
4712:
4702:
4692:
4682:
4672:
4653:
4594:
4588:
4576:
4553: at the
4530:
4493:
4479:
4462:
4459:Rewald, John
4441:
4425:
4409:
4392:
4382:
4370:
4363:Gopnik, Adam
4349:
4332:
4321:. Retrieved
4317:
4301:. Retrieved
4297:
4271:
4244:. New York:
4240:
4185:
4171:
4167:
4161:Bibliography
4150:
4141:
4129:. Retrieved
4125:
4115:
4103:. Retrieved
4098:the original
4084:
4074:
4062:. Retrieved
4058:
4049:
4037:. Retrieved
4032:
4023:
4011:. Retrieved
3991:
3979:. Retrieved
3970:
3961:
3949:. Retrieved
3944:
3935:
3927:
3919:
3911:
3906:
3896:17 September
3894:. Retrieved
3889:
3880:
3868:. Retrieved
3864:the original
3859:
3850:
3839:
3830:
3811:
3805:
3796:
3789:. Retrieved
3780:
3771:
3759:. Retrieved
3755:
3745:
3736:
3726:
3714:. Retrieved
3705:
3696:
3684:. Retrieved
3675:
3665:
3653:. Retrieved
3649:
3639:
3627:. Retrieved
3622:the original
3608:
3598:
3586:. Retrieved
3582:
3572:
3560:. Retrieved
3556:
3546:
3534:. Retrieved
3530:
3520:
3508:. Retrieved
3504:the original
3499:
3490:
3478:. Retrieved
3469:
3459:
3447:. Retrieved
3443:
3433:
3421:. Retrieved
3412:
3403:
3391:. Retrieved
3379:
3369:
3357:. Retrieved
3348:
3339:
3327:. Retrieved
3322:
3313:
3301:. Retrieved
3297:
3287:
3260:
3254:
3235:
3229:
3210:
3204:
3192:. Retrieved
3187:
3177:
3169:
3144:
3139:
3132:Mathews 1994
3127:
3119:
3114:
3107:Mathews 1994
3102:
3094:
3090:
3085:
3076:
3072:
3062:
3055:artchive.com
3050:
3042:
3041:King, Ross.
3037:
3019:
3000:
2994:
2982:. Retrieved
2978:the original
2968:
2956:. Retrieved
2952:the original
2948:"Exhibition"
2942:
2934:
2889:
2860:
2799:
2796:John, Rewald
2779:the original
2774:
2736:
2730:
2718:. Retrieved
2714:the original
2703:
2680:
2674:
2665:
2637:
2631:
2612:
2551:
2540:
2532:
2524:
2513:
2502:
2488:
2470:
2449:
2434:
2416:
2396:Portrait of
2395:
2380:
2359:
2344:
2319:
2301:
2283:
2264:
2246:
2227:
2210:
2195:
2177:
2160:
2142:
2123:
2105:
2090:
2072:
2057:
2039:
2024:
2005:
1988:
1970:Conversation
1969:
1950:
1935:
1916:
1893:
1871:
1850:
1831:Paul CĂ©zanne
1829:Portrait of
1828:
1805:
1787:
1768:
1749:Louveciennes
1746:
1728:
1713:
1692:
1660:
1617:
1608:
1588:
1571:
1553:
1535:
1517:
1499:
1467:
1450:
1448:
1439:
1435:
1429:
1420:
1410:
1400:
1398:
1386:
1373:
1364:
1362:
1347:
1330:
1328:
1317:
1293:
1291:
1278:
1273:Tate Gallery
1266:
1252:
1247:
1241:
1237:Mary Cassatt
1234:
1219:
1211:
1203:
1183:
1179:
1162:
1148:
1144:
1136:
1125:
1104:
1096:
1087:
1068:
1062:
1045:
1042:
1039:
1035:
1026:
1009:
995:
990:Mary Cassatt
983:
979:
958:
952:Montfoucault
949:
938:Louveciennes
935:
905:
899:
885:
877:
869:
860:
838:Bedford Park
823:
815:
809:
803:
789:
785:
767:
763:
757:
729:
714:
704:
686:Louveciennes
637:
616:
600:
592:
568:
560:Napoleon III
556:
552:Paul CĂ©zanne
544:Claude Monet
537:
528:Louveciennes
512:
503:
490:
461:
454:
417:Anton Melbye
414:
405:
379:Fritz Melbye
376:
353:
349:
341:
329:
319:
305:
287:
281:'s masters.
279:Paul Gauguin
275:Paul CĂ©zanne
268:
238:(now in the
176:
175:
112:(1903-11-13)
96:Saint Thomas
88:10 July 1830
43:
5596:1903 deaths
5591:1830 births
5553:Louis Leroy
5451:Other media
5427:Max Slevogt
5402:Henry Moret
5247:Tom Roberts
5126:Exhibitions
5011:Edgar Degas
4979:Originators
4039:5 September
3892:. July 2012
3870:3 September
3629:14 November
3562:14 November
3557:Artnet News
3536:14 November
3531:Artnet News
3510:14 November
3480:14 November
3449:14 November
3444:Tulsa World
3323:artnet News
2286:, c. 1901.
2006:The Harvest
1972:, c. 1881.
1859:, New York
1729:Working at
1693:A Plaza in
1376:provenances
1367:, owned by
1363:Pissarro's
1358:Bruno Lohse
1329:Pissarro's
1326:in France.
1320:Simon Bauer
1300:Raoul Meyer
1292:Pissarro's
1165:, 1891â92.
1154:Later years
1079:pointillism
1075:Paul Signac
830:Kew Gardens
794:, views of
670: [
659: [
638:In 1871 in
445:John Rewald
308:, c. 1853.
297:Early years
271:John Rewald
264:Paul Signac
123:Nationality
67: 1900
5580:Categories
5463:Literature
5284:Henri Beau
5216:Australian
4488:0385120656
3981:6 November
3951:6 February
3791:4 February
3761:4 February
3716:4 February
3706:Looted Art
3686:4 February
3655:5 February
3650:Looted Art
3588:4 February
3413:Looted Art
3393:4 February
3359:4 February
3329:4 February
3303:4 February
3118:Roe, Sue.
2984:29 October
2813:3770111664
2578:References
2360:View from
2322:, c 1902.
2271:, New York
2106:Haying at
1957:, New York
1881:, Le Havre
1432:Christie's
984:Pissarro,
965:art critic
961:Ămile Zola
572:Ămile Zola
368:St. Thomas
332:St. Thomas
324:St. Thomas
84:1830-07-10
4661:Paintings
4093:0362-4331
3890:Art Daily
3617:0362-4331
3388:0362-4331
2958:5 October
2720:8 January
2345:La Guaira
1673:Paintings
1611:c. 1878.
1455:Holocaust
1444:Sotheby's
1343:Auschwitz
915:settings;
834:Kew Green
800:Hyde Park
754:Paintings
711:, Oxford.
468:plein air
391:La Guaira
383:Venezuela
236:St Thomas
157:Signature
5477:See also
5273:Canadian
5144:American
4536:Archived
4510:Archived
4494:Pissarro
4381:(1981).
4323:16 March
4238:(1994).
4033:MV Times
4004:Archived
3975:Archived
3945:BBC News
3860:Fox News
3785:Archived
3781:OU Daily
3710:Archived
3680:Archived
3676:ART news
3474:Archived
3470:OU Daily
3423:13 March
3417:Archived
3353:Archived
3298:OU Daily
3279:34742446
3194:27 April
3145:Pissarro
2798:(1986).
2775:Artchive
2561:See also
2545:, 1901,
2518:, 1896,
2304:, 1903.
2267:, 1899.
2249:, 1898.
2230:, 1898.
2180:, 1897.
2042:, 1884.
2008:, 1882.
1953:, 1880.
1923:, London
1919:, 1877.
1900:, 1877.
1898:Pontoise
1877:, 1876.
1874:Pontoise
1855:, 1874.
1838:, London
1834:, 1874.
1808:, 1872.
1790:, 1871.
1775:, Madrid
1771:, 1871.
1752:, 1870.
1731:BĂ©relles
1591:, 1897.
1556:, 1897.
1538:, 1897.
1520:, 1897.
1502:, 1897.
1425:monotype
1391:, 1897,
1275:, London
1271:, 1903.
1130:, 1896.
1018:, Ottawa
1014:, 1901.
863:Pontoise
842:Chiswick
826:Pontoise
760:Sydenham
707:, 1897.
682:Pontoise
607:Pontoise
588:Pontoise
558:Emperor
500:, Paris.
496:, 1872.
408:, 1867.
291:van Gogh
139:Movement
134:Painting
5533:Related
5524:The Ten
5335:artists
5275:artists
5218:artists
5146:artists
5100:Dealers
5069:Patrons
4921:Related
4766:, 1896)
4732:, 1881)
4607:Ben Uri
4605:at the
4303:6 April
4264:98-8028
4131:22 July
4105:22 July
4064:22 July
4013:15 June
3190:: 55â56
2804:Cologne
2012:, Tokyo
1976:, Tokyo
1904:, Paris
1756:, Paris
1695:Caracas
1457:victim
1306:at the
1225:Gauguin
1214:CĂ©zanne
1111:Vincent
748:impasto
721:Norwood
640:Croydon
493:Voisins
421:Courbet
387:Caracas
219:French:
39:Picasso
4865:Family
4856:(1901)
4846:(1901)
4836:(1899)
4826:(1897)
4816:(1897)
4806:(1897)
4796:(1897)
4786:(1896)
4776:(1896)
4752:(1886)
4742:(1886)
4718:(1877)
4708:(1874)
4698:(1874)
4688:(1873)
4593:," in
4555:Art UK
4486:
4469:
4448:
4432:
4416:
4399:
4356:
4339:
4278:
4262:
4252:
4228:
4220:
4212:
4204:
4196:
4178:
4091:
3818:
3615:
3386:
3277:
3267:
3242:
3217:
3151:
3007:
2897:
2867:
2810:
2743:
2691:
2644:
2619:
2507:1873,
2198:, 1898
2126:1890.
2111:, 1889
2108:Eragny
2075:1886.
2060:, 1885
2027:, 1882
1938:, 1877
1667:Louvre
1620:Lucien
1083:Lucien
1065:, 1887
955:, 1879
941:, 1872
866:, 1874
788:, and
623:Lucien
431:, and
326:, 1856
5558:Nadar
5458:Music
5333:Other
4007:(PDF)
4000:(PDF)
2232:LACMA
986:Degas
881:Salon
736:Monet
674:]
663:]
457:Salon
433:Corot
344:Passy
210:piss-
4609:site
4484:ISBN
4467:ISBN
4446:ISBN
4430:ISBN
4414:ISBN
4397:ISBN
4354:ISBN
4337:ISBN
4325:2024
4305:2024
4276:ISBN
4260:LCCN
4250:ISBN
4226:ISBN
4218:ISBN
4210:ISBN
4202:ISBN
4194:ISBN
4176:ISBN
4133:2020
4126:ELLE
4107:2020
4089:ISSN
4066:2020
4041:2017
4015:2013
3983:2021
3953:2014
3898:2021
3872:2011
3816:ISBN
3793:2021
3763:2021
3718:2021
3688:2021
3657:2021
3631:2021
3613:ISSN
3590:2021
3564:2021
3538:2021
3512:2021
3482:2021
3451:2021
3425:2021
3395:2021
3384:ISSN
3361:2021
3331:2021
3305:2021
3275:OCLC
3265:ISBN
3240:ISBN
3215:ISBN
3196:2015
3149:ISBN
3093:and
3005:ISBN
2986:2006
2960:2010
2895:ISBN
2865:ISBN
2808:ISBN
2741:ISBN
2722:2016
2689:ISBN
2642:ISBN
2617:ISBN
2452:Osny
1626:and
1073:and
832:and
742:and
550:and
439:and
389:and
262:and
254:and
230:and
107:Died
74:Born
4524:JPG
4424:of
3928:CNN
3798:it.
1102:".
214:-oh
198:ÉËr
5582::
4478:,
4461:,
4408:,
4391:,
4369:,
4365:,
4348:,
4316:.
4296:.
4258:.
4248:.
4224:â
4216:â
4208:â
4200:â
4149:.
4124:.
4087:.
4083:.
4057:.
4031:.
3969:.
3943:.
3926:,
3888:.
3858:.
3838:.
3795:.
3779:.
3754:.
3735:.
3704:.
3678:.
3674:.
3648:.
3611:.
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