‘Pissarro à Éragny: La nature retrouvée’
After he “based himself at Éragny” in his mid-fifties, writes Julian Bell, Camille Pissarro “started butting his canvases with tiny hog-brush flecks of hues meant to jangle and interpenetrate, and thus to restage the retina’s primal encounters with light, the very moments when ‘nature’ turned into ‘sensation.’ And undeniably, the method delivered. In paintings such as the 1888 Apple Harvest, on view at the Luxembourg, Pissarro speaks to the eyes as if he had suddenly been equipped with a megaphone. The super-resonance combines here with studiously balanced intervals and a panoramic horizon to create a poem of arcadian exultation. One that remains, as usual, temperate: the canvas is only twenty-eight inches wide.”
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