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272

CAMILLE PISSARRO

Repos du dimanche dans le bois

.

Etching and drypoint printed in dark,

brownish black on cream laid paper, 1891.

176x289 mm; 7x11

3

/

8

inches, full margins.

Third state (of 3). One of approximately

only 14 lifetime impressions in this state.

Signed, titled and inscribed “2e état no.

10” and “Z. tirée claire” in pencil, lower

margin. A very good impression of this

large, scarce etching.

We have found only 6 other lifetime

impressions at auction in the past 30 years.

By 1884, Pissarro had moved from Pontoise,

close to Paris, to the small village of Éragny

near Gisors, which was midway between

Paris and Rouen, perhaps prompted by a

need to source new subject matter for his

paintings and prints.According to Shapiro,

Pissarro wrote to his son Lucien, also an

artist, after moving to Éragny, noting “I

think you will find attractive things to

paint in Gisors, subjects, moreover, which

should interest the English: churches,

markets, farms, stations, coachmen, shop-

keepers, and the landscape itself.”

A year later he met the artists Georges

Seurat and Paul Signac and, through

them, from 1885-1888, adopted Pointilism.

He exhibited a group of Pointilist paintings,

along with Seurat, Signac and his son

Lucien Pissarro, at the 1886 Impressionist

Exhibition, albeit in a separate room from

the other Impressionist works.

This was a significant and courageous shift

in styles for the artist, then in his mid-50s,

who had seen only limited commercial

success with his Impressionist works.

Nevertheless, Pissarro eventually abandoned

Pointilism and Neo-Impressionism, claiming its system was too artificial and technical, and

reverted to his earlier style.This shift back to his Impressionist roots, as well as the influence

of the Barbizon masters, is evident in this simple etched scene of peasants at rest on a

Sunday afternoon in a warm, sunlit setting.

Pissarro may have had an earlier painting in mind,

Les jeunes filles de paysans

, that he had

made in Pontoise in 1882, when he created this etching. Delteil 99.

[8,000/12,000]