7 / 120
as an auxiliary pursuit. Technically, he pushed the medium to its limits
through his manipulation of the etching plates, becoming so enthusiastic
that he purchased two of his own etching presses: a worn, second-hand
model in 1891, and a proper, new press in 1894 from the master printer
Eugene Delâtre. His mastery of the medium increased over time, and his
early etchings, quite straightforward, exist in contrast to his later prints,
which capture great tonality and atmosphere.
Pissarro's printmaking took off during the late 1870s when he began
working closely with Degas, a major proponent of the medium, who
introduced him to the wide potentials of printmaking. He experimented
with Degas to produce prints with impressionistic effects, and, in turn,
Degas printed color proofs of some of Pissarro's etchings. During this
time, Pissarro became ceaselessly experimental with his printmaking.
When looking at prints from this period of collaboration with Degas, often
it is difficult to discern exactly what medium or process he implemented
to achieve certain effects. Along with being radically experimental,
Pissarro was also meticulous and printed only very limited, high quality
impressions. He often insisted upon printing his own proofs and was
diligent about choosing specific quality papers that would complement
each composition.
Pissarro began making lithographs in earnest in 1894, producing around
fifty in the span of a decade. His experimental artistic leaning extended
to lithography as well. He employed unorthodox techniques and explored
a number of different subjects. In the 1890s, Pissarro contributed a number
of lithographs to publications by French Anarchist-Communist Jean Grave.
Pissarro also famously collaborated closely with the talented printer
George Thornley to create a series of lithographs reproducing some of his
cherished paintings. He likely began working with him on advice from
Degas, who had already worked with Thornley extensively (they produced
a portfolio of 15 lithographs based on drawings by the artist), as did Monet
in the early 1890s.
Throughout his career, Pissarro was considered a humble mediator by his
contemporaries and remained focused on the quality of his work rather
than the accumulation of critical accolades. His selfless and committed
spirit helped many important artists of the time blossom into the creative
icons that they're now known. With one foot in the old and one in the new,
Pissarro helped set the stage for 20th century modernism and created
and shaped one of the most important artistic movements in history.