Word: pissarros
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...commenting upon the exhibition on display last week at Paris' Durand-Ruel Gallery, Critic Pierre Cabanne of the weekly Arts neatly summed up the fate of Impressionist Camille Pissarro. He is largely ignored, said Cabanne, "for not having the ardour of Cezanne, the sensuality of Renoir, the brilliance of Sisley, the visual sharpness of Degas, the fullness of Monet's conception." At first glance, Pissarro's work does seem to lack the dazzle of his colleagues', but after longer study, the full truth emerges. Far from lacking the virtues of the others, he had them...
Praise for a Primitive. In the 59 years since his death, Pissarro has been given few good shows, and when Pissarro is not seen at his best he is best not seen at all. But the current show, put on by the same gallery that championed the impressionists during their years of public scorn, was chosen from private collections with both taste and sensitivity. Even so, it has not been much of a success; critical comment has been scanty, public attendance indifferent. As Cezanne once noted, Pissarro's was a humble art-and people tend to leave the verdict...
...Civil War is finally over--at least at the Museum of Fine Arts.--Now Camille Pissarro holds the spot light alone in a print show the Museum insists on calling "an early touch of spring." Well, let the Museum wax rhapsodic--Pissarro is a pretty good...
...Poor Mme. Morisot, the public hardly knows her!" wrote Impressionist Camille Pissarro on the day in 1895 that he heard of the death of his good friend Berthe Morisot. Compared with the following of her great contemporaries, Berthe Morisot's public has always been modest but no history of the impressionist movement could now overlook her. The reason was clear last week at Manhattan's Wildenstem gallery, where 69 of her works hung in the largest Morisot exhibition ever held...
...after heated argument, Olympia was hung in the Luxembourg Palace, then the waiting room for the main Louvre collection. In 1894 the painter Gustave Caillebotte bequeathed the nation 67 prize impressionist paintings, had 38 grudgingly accepted for the Luxembourg, including Renoir's Le Moulin de la Galette, Pissarro's Red Roofs. By 1911, opinion had swung round so completely that when Count Isaac de Camondo willed the Louvre 56 impressionist paintings (including Degas' Foyer de la Danse, Manet's The Fifer), they were accepted unanimously by the Curators' Committee...