His four best paintings viewed in their historical context, and consideration of the constraints that he painted under. What if?
There’s been extensive speculation over his late landscapes painted near Aix. Here’s the evidence in the paintings themselves.
Pissarro started a realist, became Impressionist, then Neo-Impressionist, before returning to human landscapes. Sisley ploughed the Impressionist furrow all the way.
Being unable to paint outdoors for much of the year, Pissarro created human landscapes from the streets of Rouen and Paris.
Moving back to Impressionist style, he painted the countryside around Éragny, and views of the cities of London and Paris.
In 1885-86, he decided to become a Neo-Impressionist, but after 3 years of painting some of the finest Divisionist paintings, he faced a difficult decision.
In this period, his paintings moved away from Impressionism and simple landscapes, as he slowly became ‘pointillist’ and incorporated more figures.
Despite continuing financial distress, worsened when Durand-Ruel stopped buying his paintings, some of Pissarro’s finest pure Impressionist works.
Twenty-five superb Impressionist canvases surrounded by myths about their creation. Here’s something closer to the truth.
Although he only painted 14 oils in England, they mark an early peak in his art. Subsequent landscapes around Louveciennes and Pontoise are numerous and superb too.