‘Camille Pissarro: Le premier des impressionnistes’
The permanent collection of Monet paintings at the Musée Marmottan Monet make for “an instructive contrast” with the art of Camille Pissarro, writes Julian Bell: “Pissarro could never, unlike his Impressionist colleague, be accused of ‘excessive bravura of execution’ or of ‘brilliant vulgarity.’ (Those putdowns come from the aesthetically radical Félix Fénéon, criticizing Monet from the other side of the Impressionist revolution in 1888.) Pissarro preferred canvas sizes intended to appeal, in their modesty, to the private collector, rather than to bid for public glory: his brushwork, even when tortuously dense, always seeks for exactitude; and his selection of landscape motifs is fastidious, with a fondness for subtle, moisture-softened illumination. Not for him flash ‘effects’ of shadow or light.”
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