Word: pissarros
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...timelessness, edged with mordant social irony about the mechanization of bourgeois life. For some it made sensuous pleasure look like an insufficient message for art. Impressionism was gaining no new adherents and losing some of its original ones: Sisley had run out of steam by the '80s, and Pissarro had gone over to the younger side, doing pointillist dots...
...story of self-creation told by the early work is just as surprising as anything in his Tahitian years. By 1880 the Sunday painter in his 30s had become a tardy impressionist, imitating Pissarro's landscapes and Mary Cassatt's moppets. After ten years of work in Paris, Brittany and with Van Gogh in Arles, Gauguin was making his first real masterpieces, like The Ham, 1889, a still life that pays homage to Cezanne and Manet while equaling both in its rigor and sensuousness, and Yellow Christ, 1889, with its startling extremes of yellow and orange. This painting of peasants...
...that only cars and art made life worth living, and on the whole he thought that art was probably easier to take care of. As the sun set over Pei's masterpiece, they walked out to the car in the company of a young couple from Brookline all maligned Pissarro, though none of them had ever held a brush. When they got to the car there was a notice on it that said the convertible was being converted to a condominium and they had the option to buy. From Huntington Avenue came the sounds of turbo-powered portable stereos...
...1880s, Pissarro's work took a sharp turn toward pointillism, or "neo-impressionism," the dissection of light into swarms of tiny colored dots, which had been developed by Georges Seurat and Paul Signac. So complete was his conversion and so short-lived-it lasted only five years-that it is hard to think of another artist of comparable talent and sincerity who was ever changed so sharply by men 30 years his junior. Certainly Pissarro was not scrambling onto a bandwagon...
...work of "these chemists who pile up little dots," as Gauguin contemptuously named the pointillists, was to the 1890s what constructivism would be to the 1920s: the house style of Utopian socialism in its various forms. Pissarro was a fervent anarchist, and his dot-crusted scenes of idyllic rural labor (as stylized and unreal, in some ways, as any 18th century pastoral) are attempts, not always successful, to convey an ideal vision of social dignity based on freely shared work. In this he was the heir of Millet as well-though he certainly did not know peasant life as Millet...