Poplars, Éragny
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Poplars in Éragny ( French Peupliers, Éragny ) is the title of an impressionist painting from the summer of 1895 by Camille Pissarro . It belongs to a series of pictures with the same motifs, which allow a look into the orchard of Pissarro's house in Éragny in Normandy and the adjacent wild poplar grove . The work followed the period in which Pissarro had just overcome the pointillist style of painting, originally at the suggestion of the art dealer Théo van Gogh , and resumed his proven style. The picture belonged to the American art collector Adelaide Milton de Groot (1876–1967) and after her death came to the Metropolitan Museum of Art , New York .
Image content and story
The portrait format of the painting measures 92.7 × 64.8 cm and is executed using the oil on canvas technique. Signature and date are lower right: C. Pissarro. 95 . With ever shorter brushstrokes and an impasto application of the bright colors, the artist succeeded in depicting the fine shapes of the leaves and the flowers and grasses of the meadow in such a way that a very structured surface was created. A slender, deciduous tree rises in the center of the picture, bringing a vertical axis into the portrait format. The almost horizontal garden fence with the human figure as accessories divides the composition in depth. In front the cultivated garden with fruit trees, behind the fence the wild growth. A very similar painting from 1894, in a slightly larger format, showing another corner of the garden, is in the Denver Art Museum .
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What was new about Pissarro's landscapes from the 1890s was the emphasis on a rural idyll that managed without the elements of the industrial era that he had previously used, such as factory chimneys or modern bridges. He painted the poplars behind his garden several times at different times of the year and day as well as in different weather conditions and the associated incidence of light. Pissarro's preoccupation with this rural idyll was based on the popular, anarchistically influenced belief in a rural ideal. A picture from the series, which shows the poplars in the light of the sunset, found great recognition by Claude Monet , who himself began to paint such a series of pictures in 1891, but which, in contrast to Pissarro's natural and unaffected representation, has a more formal and decorative effect.
Individual evidence
- ↑ Claire Durand-Ruel Snollaerts in the exhibition catalog: Camille Pissarro - father of Impressionism , Von der Heydt Museum , Wuppertal 2014, p 81
- ↑ Angela Schneider, Anke Daemgen, Gary Tinterow (eds.): French masterpieces of the 19th century from the Metropolitan Museum of Art , contribution by Kathryn Calley Galitz in the exhibition catalog, Berlin 2007, p. 186 f.