Pissarro (Lucien), Account

 

 

Impressionism, a historical reconstruction:

Lucien Pissarro

(1863-1944)

Account

of his exhibited works

 

Introduction:
On this page you will find a more extended account of the works that Lucien Pissarro exhibited at the 8th ‘impressionist’ exposition in 1886. You will also find a less extended account of his art-works shown at other expositions. For general info on Lucien Pissarro and the used sources see the main page. See the links for an impression of his exhibited art-works in 1886 and at other expositions.

 

The eight ‘impressionist’ exposition 1886:

  • catalogue numbers 114-123: =10.
  • no. 116 consisted possibly of 11 watercolours:10 + 10=20.
  • no. 122 sonsisted probably of 5 woodcut engravings: 20 + 4 =24.
  • no. 123 consisted of 9 woodcut engravings: 24 + 8 = 32.
  • so in total Lucien Pissarro exhibited probably 32 art-works, including 5 oil paintings, 13 watercolours and 14 woodcut engravings.
    • 5x indication of place, .
    • 0x indication of time, season or weather
    • 1x a study
    • 1x loan (appartient à…): La Revue Illustrée (no.122).
  • See for the suggestions of Moffett (R2,p446) and of Berson (R90II,p248-250+269-273). They refer to Thorold: A Catalogue of the oil paintings of Lucien Pissarro (1983=R125). Berson also refers to Fern (1960=R311).
  • See link for the pictures.

Reviews:
Paul Adam (1886/04/04) reviewed ‘ “The day falls on a table where remains of a dessert still remain, the curtains bulge, common fruits and plates”; this picture of M. Lucien Pissaro (sic) makes one regret the too small number of his exhibited works, especially since his drawings promise a talent for observation.’ (R90I,p428/9).
Jean Ajalbert (1886/06/20) reviewed ‘M. Lucien Pissaro (sic), the son of the former, debuts with amusingly naive illustrations. It’s young and charming. “Il était une bergère” with a childlike grace like Kate Greenaway; and his woodcuts are interesting for their rudimentary execution; two still lifes, of which  one shows light effects on creamy linens.” (R90I,p432).
George Auriol (1886/05/22) reviewed ‘M. L. Pissaro (sic), son of the former, exposes some woodcuts of a vigorous workmanship.’ (R90I,p434).
Jules Christophe (1886/06/13) reviewed ‘A very young Lucien Pissarro, debuts and it reveals himself with amazing and vivid woodcuts, as beautiful as the pictures of the old almanacs, a series of illustrations for a tale of M. Octave Mirbeau, also in woodcut, and charming watercolour projects (refused everywhere) to comment ‘Il était une bergère”, that go well beyond the drawings of the adviser Boutet de Monvel, welcomed everywhere. But the oils and watercolours are still too schoolboyish.’ (R90I,p437).
Rodolphe Darzens (1886/05) reviewed ‘M. Lucien Pissarro conceived in a manner both less complex and more accentuated than that of his father; his two still lifes, fruits in front of a window whose curtains filter the light from outside, and a hat placed at an angle on a table, reveal a skill that is all the greater because he uses only straightforward colours, highlighted by very simple procedures.’ (R90I,p438/9).
Félix Fénéon (1886/06/13-20) reviewed ‘Next to Camille Pissarro exhibits his son Lucien. M. Lucien Pissarro with the simplicity, the exemplary honesty of primitive xylographers, has engraved on wood a series of rural beings, animals and people; His watercolour illustrations are frank and delicate; his landscapes are extensively washed / generously painted; and his still life is a fine piece of painting.’ (R90I,p444).
Marcel Fouquier (1886/05/16) reviewed ‘Aside of M. C. Pissarro, it is only fair to mention M.L. Pissarro, with his beautiful and clear illustrations of “Il était une bergère“. ‘ (R90I,p448).
Gustave Geffroy (1886/05/26) reviewed ‘M. Lucien Pissarro debuts as a good landscaper by: Étude à Pontoise, Église de Bazincourt, and reveals himself as an original woodcarver with a series drawn and engraved with an ardour and a decision rare today in this profession of patience.’ (R90I,p450).
Octave Maus (1886/06/27) reviewed in the Brussels’ L’Art Moderne ‘His son Lucien debuted this year with some interesting paintings and watercolours, and a curious series of woodcuts, of an appealingly primitive naivity.’ (R90I,p464).
Octave Mirbeau (1886/05/21) reviewed ‘His son, Lucien Pissarro, sent in two very interesting still lifes, with a beautiful vibration. But the best thing about his exhibition is the delightful drawings, with a fair and delicate sentiment, of a fine mind, of a curious observation, and which recall somewhat, in their originality, the drawings of Kindt.’ (R90I,p466).
The Moniteur des arts (1886/05/21) reviewed ‘M. Camille Pissarro … Still lifes and some valuable woodcuts.’ (R90I,p467).
La République française (1886/05/17) reviewed ‘Pissarro le père… He would be prevented from doing so by his sons, who, enthousiast by nature, form a kind of areopagus around him: the young Lucien is there, working alongside his father, feeling and seeing like him. The whole family is grouped and united in this artistic faith: only once in a while does someone come off and comes to Paris to bring some paintings to old friends or to organize an exhibition like this one. Lucien Pissaro (sic) made, this year, his debut as an exhibitor: a suite of watercolours, naively illustrating the popular round: Il était une bergère. It’s really attractive in its simplicity.’ (R90I,p472).

1886 catalogue: (R2,p445;R90I,p423;iR1)

8IE-1886-114, Nature morte
8IE-1886-115, Nature morte
Moffett doesn’t give a suggestion. Thorold and Berson suggest for no.114: 1885, CR6, SDbl, Apples on table-cloth against a lace-curtained window, 66×82, A2018/11/20 (iR11;iR14;R125,no6;R90II,p269+248;R2,p445). See additional info on Sothebys (iR14). Berson refers to the reviews of Adam, Ajalbert, Darzens and also Fénéon, Mirbeau and Moniteur des arts. Fénéon reviewed ‘his still life is a fine piece of painting.’ (note the singular form). Mirbeau reviewed ’two very interesting still lifes, with a beautiful vibration’. The Moniteur des arts just mentions ‘still lifes’. Adam described ‘The day falls on a table where remains of a dessert still remain, the curtains bulge, common fruits and plates’. Ajalbert described ‘one shows light effects on creamy linens’. Darzens described ‘fruits in front of a window whose curtains filter the light from outside’. All these descriptions refer to the suggested CR6. Darzens as the only one also described the second still-life ‘a hat placed at an angle on a table’ and he commented on both ‘(they) reveal a skill that is all the greater because he uses only straightforward colours, highlighted by very simple procedures.’ (R90I,p438/9).
I couldn’t find a still life of Lucien Pissarro depicting a hat on a table, nor any other still-life made around 1886, so I don’t render a suggestion. I assume that no.115 was the same as ‘chapeau et gants’ (hat and gloves) that was exhibited at the Salon des Indépendants in 1887, no.314 and made around 1886/87 (R125,no13).

8IE-1886-116, Projet d’illustration de « Il était une bergère » (aquarelle)
Moffett doesn’t give a suggestion. Berson suggests 11 works for no.116, but she writes ‘it remains unclear how many works from this project were shown in 1886’ (R90II,p248).  She refers to the reviews of Ajalbert, Christophe, Fénéon, Fouquier and La République française. Ajalbert reviewed ‘amusingly naive illustrations. It’s young and charming… with a childlike grace like Kate Greenaway’. Christophe reviewed ‘charming watercolour projects (refused everywhere) to comment ‘Il était une bergère”, that go well beyond the drawings of the adviser Boutet de Monvel, welcomed everywhere. But the oils and watercolours are still too schoolboyish.’ Fénéon reviewed ‘His watercolour illustrations are frank and delicate’. Fouquier called it ‘beautiful and clear illustrations’. La République française reviewed ‘a suite of watercolours, naively illustrating the popular round: Il était une bergère. It’s really attractive in its simplicity.’ Maybe referring to no.116, Mirbeau reviewed ’the delightful drawings, with a fair and delicate sentiment, of a fine mind, of a curious observation, and which recall somewhat, in their originality, the drawings of Kindt.’
I render the pictures from Berson (R90II,p248/9) all in black and white. Only for no.6 I render a coloured watercolour. Note: that Berson indicates that some numbers were just drawings and no watercolours (no.3+5+no.11) (R90II,p248/9). Note: Berson doesn’t date these works; no.6 is dated 1884, so I assume all the other works were also made around 1884. Here below we will see that no.8 of Berson corresponds with no.10 from the serie and no.9 with no.11, so I assume there were (at least) 13 watercolours exhibited.

8IE-1886-116-1, Il était une bergère (Illustrations de Lucien Pissarro) (aquarelle)
Berson suggests: 18xx, Il était une bergère (Illustrations de Lucien Pissarro), pen+ink+watercolour, 22×19, Ashmolean Oxford (R90II,p248+269).

8IE-1886-116-2, Il était une bergère, no.2 (aquarelle)
Berson suggests: 18xx,  Il était une bergère, no.2, ink+watercolour, 12×17, Ashmolean Oxford (R90II,p248+269).

8IE-1886-116-3, Qui gardait ses moutons, no.3 (aquarelle)
Berson suggests: 18xx, Qui gardait ses moutons, no.3, ink+pencil, 13×17, Ashmolean Oxford (R90II,p248+270).

8IE-1886-116-4, Elle fit une fromage (aquarelle)
Berson suggests: 18xx,  She went to make a cheese, pen+ink+watercolour, 21×17, Ashmolean Oxford (R90II,p249+270).

8IE-1886-116-5, Elle fit une fromage (aquarelle)
Berson suggests: 18xx,  She went to make a cheese, no.5, pencil+ink, 20×17, Ashmolean Oxford (R90II,p249+270).

8IE-1886-116-6, Son chat qui la regarde (aquarelle)
Berson suggests: 18xx,  Son chat qui la regarde, no.6, ink+watercolour, 21×17, Ashmolean Oxford (R90II,p249+270).

8IE-1886-116-7, La Bergère en colère (aquarelle)
Berson suggests: 18xx,  The shepherdess lost her temper, pen+ink+watercolour, 21×17, Ashmolean Oxford (R90II,p249+270).

8IE-1886-116-8, Elle s’en fut à confesse (aquarelle)
Berson suggests: 18xx,  Elle s’en fut à confesse, no.10, ink+watercolour, 23×17, Ashmolean Oxford (R90II,p249+270).

8IE-1886-116-9, Mon père, je m’accuse (aquarelle)
Berson suggests: 18xx,  Mon père, je m’accuse, no.11, ink+watercolour, 20×16, Ashmolean Oxford (R90II,p249+271).

8IE-1886-116-10, Nous nous embrasserons (aquarelle)
Berson suggests: 18xx, We’ll embrace in forgiveness, pen+ink+watercolour, 20×17, Ashmolean Oxford (R90II,p249+271).

8IE-1886-116-11, Nous recommencerons (aquarelle)
Berson suggests: 18xx, Nous recommencerons, pen+ink+pencil, 17×21, Ashmolean Oxford (R90II,p249+271). Compare: 8IE-1886-123-9, Curé à la promenade; gravure sur bois.

8IE-1886-117, Étude à Pontoise (aquarelle)
Moffett doesn’t give a suggestion, nor does Berson, who refers to Geffroy, who just mentions the tittle and calls him ‘a good landscaper’. In general Christophe commented ‘But the oils and watercolours are still too schoolboyish.’ Maus reviewed ‘some interesting paintings and watercolours’. His father Camille had lived in Pontoise till the end of 1882, when Lucien was 19 (R116II,p100). If Lucien didn’t return again to Pontoise it must be an early watercolour. I couldn’t find any work that Lucien made in Pontoise. To compare I render a recent watercolour: 1886, SDbr, Road near Eragny, wc, 13×20, Ashmolean Oxford (iR155;M66;aR2;aR3;R2,p445).

8IE-1886-118, Église de Bazincourt (aquarelle)
Moffett doesn’t give a suggestion, nor does Berson, who refers to Geffroy, who just mentions the tittle and calls him ‘a good landscaper’. In general Christophe commented ‘But the oils and watercolours are still too schoolboyish.’ Maus reviewed ‘some interesting paintings and watercolours’. Bazincourt-sur-Epte, lies just north of Gisors, just north-east of Bernouville, just south of Thierceville and just west of Éragny-sur-Epte, where his father Camille moved to in April 1884 (iR9;R116III,p499). The depicted church is probably the Église Saint-Denis (iR9). To compare I render a photo of the Saint-Denis church, an oil painting made by his father: Camille Pissarro, CCP808, 1885, SDbl, The meadow at Éragny (Le clocher de Bazincourt), 46×55, private (iR10;R116,no808;R2,p445); and a recent watercolour by Lucien: Compare: 1886ca, La Barrière, Eragny Meadows, wc, 21×16, Ashmolean Osford (iR155;aR3;aR2;M66;R2,p445).

8IE-1886-119, Environs de Londres
Moffett doesn’t give a suggestion, nor does Berson, who refers to Fénéon, who just makes a general remark on his landscapes that ‘are extensively washed / generously painted’. In general Christophe commented ‘But the oils and watercolours are still too schoolboyish.’ Maus reviewed ‘some interesting paintings and watercolours’. This work was probably made during his first stay in London in 1883/84 (aR8;R3;R88). As a very uncertain option I render: 1883, CR66, SDbl, Epping, april, 45×55, A2014/09/16 (iR11;iR2;iR10;R125,no66;R2,p445).

8IE-1886-120, Villerville
Moffett doesn’t give a suggestion, nor does Berson, who refers to Fénéon, who just makes a general remark on his landscapes that ‘are extensively washed / generously painted’. In general Christophe commented ‘But the oils and watercolours are still too schoolboyish.’ Maus reviewed ‘some interesting paintings and watercolours’. Villerville lies opposite Le Havre at the left bank of the Seine estuary and about 10km south-west of Honfleur on the Normandy coast (iR9). To compare I render a later work made in Harfleur, which lies just east of Le Havre: 1903, SDbl, View over the Estuary, Harfleur, 45×55, Ashmolean Oxford (M66;iR173;iR10;R2,p445)

8IE-1886-121, Burneville et Bazincourt
Moffett doesn’t give a suggestion, nor does Berson, who refers to Fénéon, who just makes a general remark on his landscapes that ‘are extensively washed / generously painted’. In general Christophe commented ‘But the oils and watercolours are still too schoolboyish.’ Maus reviewed ‘some interesting paintings and watercolours’. For the location of Bazincourt see no.118. I couldn’t find a Burneville, but just south-west of Bazincourt lies Bernouville, so I assume it was a writing error. I also assume that no.121 was a landscape depicting the fields between Bazincourt and Bernouville. To compare I render a work by his father Camille Pissarro: CCP789, 1885, Prairie de Bazincourt, 46×55, A2017/05/15 (iR11;iR10;R116,no789;R2,p445). Note: Camille Pissarro never depicted Bernouville, nor Burneville (R116III,p931).

Gravures sur bois :
Ajalbert reviewed ‘his woodcuts are interesting for their rudimentary execution’. Auriol reviewed ‘woodcuts of a vigorous workmanship.’ Christophe reviewed ‘amazing and vivid woodcuts, as beautiful as the pictures of the old almanacs, a series of illustrations for a tale of M. Octave Mirbeau, also in woodcut’. Fénéon reviewed ‘with the simplicity, the exemplary honesty of primitive xylographers, has engraved on wood a series of rural beings, animals and people’. Geffroy reviewed ‘reveals himself as an original woodcarver with a series drawn and engraved with an ardour and a decision rare today in this profession of patience.’ Maus reviewed ‘a curious series of woodcuts, of an appealingly primitive naivity.’ The Moniteur des arts writes about ‘valuable woodcuts.’

8IE-1886-122, Illustration de Mait’Liziard (nouvelle de M. Octave Mirbeau); gravure sur bois.
appartient à la Revue Illustrée. Berson indicates that these works were reproduced in La Revue illustrée 2, no.13 (1886/06/15). So, I assume these works were made around 1886. Moffett suggests the works are now in the Ashmolean Museum in Oxford. Berson renders 5 works and refers to the reviews of Christophe↑ and also to Ajalbert↑, Auriol↑,  Fénéon↑, Geffroy↑, Maus↑ and the Moniteur des arts↑.

8IE-1886-122-1, Lettre L.; gravure sur bois.
Berson suggests: 1886ca, Lettre L. wood engraving, 14×11, Ashmolean Oxford (R90II,p249+271;R311,no27). I render: 1886ca, (Mait’ Liziard) Lettre L., woodcut, 14×11, VGM Amsterdam (aR7;M73;R90II,p271+249).

8IE-1886-122-2, Bon Guieu! Qu’a a ronf’e; gravure sur bois.
Berson suggests: 1886ca, Bon Guieu! Qu’a a ronf’e, wood engraving, xx, La Revue illustrée 2, no13, 1886/06/15 (R90II,p271+249). I render the picture from Berson.

8IE-1886-122-3, All’enfe, a soufflé; gravure sur bois.
Berson suggests: 1886ca, All’enfe, a soufflé, wood engraving, 17×16, Ashmolean Oxford (R90II,p249+271;R311,no28). I render: 1886ca, All’enfe, à soufflé, woodcut, 17×16, VGM Amsterdam (M73;R90II,p271+249;R2,p445).

8IE-1886-122-4, Tiens, tiens, mais c’est Liziard; gravure sur bois.
Berson suggests: 1886ca, Tiens, tiens, mais c’est Liziard, wood engraving, 11×16, Ashmolean Oxford (R90II,p249+272;R311,no29). I render: 1886ca, Tiens! tiens! mais c’est Liziard!, 11×16, VGM Amsterdam (aR7;M73;R90II,p272+249;R2,p445).

8IE-1886-122-5, Cul de lampe; gravure sur bois.
Berson suggests: 1886ca, Cul de lampe, wood engraving, 13×9, Ashmolean Oxford (R90II,p249+272;R311,no30). I render: 1886, Crying woman, woodcut, 25×16 (13×9), VGM Amsterdam (M73;aR7;iR155;iR10;R90II,p272+249).

8IE-1886-123:
Berson refers to the reviews of Christophe (‘a series of illustrations for a tale of M. Octave Mirbeau, also in woodcut’) and also to Ajalbert↑, Auriol↑,  Fénéon↑, Geffroy↑, Maus↑ and the Moniteur des arts↑. She indicates that Lucien Pissarro made these wood engravings after drawings of his father Camille, so you will find the signatures L.P. and C.P. (in reverse). Lucien also used the name L. Vellay after his mother (R90II,p249/250). He did so to avoid confusion with his father Camille (R89,p68).

8IE-1886-123-1, Tête de paysan; gravure sur bois.
Moffett doesn’t give a suggestion. Berson renders two options: 18xx, Croquis, wood engraving, 7×5, Ashmolean Oxford (R90II,p250+272;R311,no18); and: 1884, Head of a farmer, woodcut after drawing Camille Pissarro, 13×12, VGM Amsterdam (M73;R90II,p272+250;R311,no18). I render both options.

8IE-1886-123-2, Lapin; gravure sur bois.
Note: the singular form in the tittle. Moffett doesn’t give a suggestion. Berson suggests 18xx, Les Lapins, wood engraving, 7×16, Ashmolean Oxford (R90II,p250+272;R311,no9). I render: 1884-86, Rabbits (Les Lapins), woodcut after a drawing of Camille Pissarro, 16×24 (7×15), VGM Amsterdam (M73;iR10;M66;R90II,p250+272;R311,no9).

8IE-1886-123-3, Femme à l’herbe; gravure sur bois.
Moffett suggests it is now in the Ashmolean Museum. Berson suggests 18xx, Woman gleaning, wood engraving, 10×7, Ashmolean Oxford (R90II,p250+272;R311,no1). I render: 1884, Woman gleaning, woodcut after a drawing of Camille Pissarro, 24×17, VGM Amsterdam (M73;R90II,p272+250;R311,no1).

8IE-1886-123-4, Femme lisant; gravure sur bois.
Moffett suggests it is now in the Ashmolean Museum. Berson suggests 18xx, Femme lisant, wood engraving, 15×14 Ashmolean Oxford (R90II,p250+273;R311,no2). I render: 1884, Femme lisant, woodcut after a drawing of Camille Pissarro, 33×24, VGM Amsterdam (M73;R90II,p273+250;R311,no2;M66).

8IE-1886-123-5, Pâtissier; gravure sur bois.
Moffett suggests it is now in the Ashmolean Museum. Berson suggests 18xx, Pâtissier, wood engraving, 13×6, Ashmolean Oxford (R90II,p250+273;R311,no8). I render: 1884, Le Pâttisier, woodcut after a drawing of Camille Pissarro, 24×17, VGM Amsterdam (M73;iR59;aR6;R90II,p273+250;R311,no8;R89,no57).

8IE-1886-123-6, Marchande de marrons; gravure sur bois.
Moffett suggests it is now in the Ashmolean Museum. Eng.: Seller of chestnuts. Berson suggests 18xx, Marchande de marrons, wood engraving, 15×12, Ashmolean Oxford (R90II,p250+273;R311,no3). I render: 1884, Marchande de marrons, woodcut after a drawing of Camille Pissarro, 32×24, VGM Amsterdam (M73;R90II,p273+250;R311,no3).

8IE-1886-123-7, Paysan sarclant; gravure sur bois.
Moffett doesn’t give a suggestion. Eng.: Farmer weeding. Berson suggests 18xx, Les Sarcleurs, wood engraving, 16×14, Ashmolean Oxford (R90II,p250+273;R311,no6). I render: 1884-85, CR202, Les Sarcleurs (Weeders), woodcut after a drawing of Camille Pissarro, 31×23, VGM Amsterdam (M73;R90II,p273+250;R311,no6).

8IE-1886-123-8, Ravaudeuse; gravure sur bois.
Moffett doesn’t give a suggestion. Eng.: Adjuster sewer. Berson suggests 18xx, Femme Ravaudant, wood engraving, 9×8, Ashmolean Oxford (R90II,p250+273;R311,no5). I render: 1884, Femme Ravaudant, woodcut after a drawing of Camille Pissarro, 23×17, VGM Amsterdam (M73;R90II,p273+250;R311,no5).

8IE-1886-123-9, Curé à la promenade; gravure sur bois.
Moffett suggests it is now in the Ashmolean Museum. Berson suggests 18xx, Le Curé, wood engraving, 8×8, Ashmolean Oxford (R90II,p250+273;R311,no7;R89,no56). I render: 1884ca, Le Curé, woodcut, 8×8, Tate London (iR10;M62;iR59;aR6;R90II,p273+250;R311,no7). Adler indicates that it was published by Georges Charpentier in La Vie Moderne in 1887 (R89,p68). Compare: 8IE-1886-116-11, Nous recommencerons (aquarelle).

 

Salon des Indépendants:
Lucien Pissarro joined the Salon des Indépendants from 1886-1894 (R285,p1383/4;R358,p207;R16;R55;R3;R88;iR3).

1886:
Adler indicates that the exposition was held in August and September (R89,p68). According to Meadmore it included aquarelle landscapes of Eragny (R312,p41), but this doesn’t seem confirmed by the catalogue. Note: Monneret indicates that Vue du village de Gouverness, Josefowitz collection Lausanne, also was exhibited (R88I,p670), but this doesn’t seem confirmed by the catalogue..

2SdI-1886-311, La maison de la sourde.
Now: 1886, CR9, The deaf womans house (La maison de l’Anglais), 58×72, Ashmolean Oxford (iR155;M66;iR11;aR3;aR4;R125,no9). Compare works of Camille Pissarro CCP822+827 (R116,no822+827;R126,no696+702).

2SdI-1886-312, Hangar (effet de 5 heures).

2SdI-1886-313, Fruits
=1885, CR6, SDbl, Apples on table-cloth against a lace-curtained window (detail), 66×82, A2018/11/20 (iR11;iR10;iR14;R125,no6;R90I,p432;R90II,p248+269)
=8IE-1886-114, Nature Morte.

2SdI-1886-314, Chapeau et gants.
Eng.: hat and gloves; made around 1886/87 (R125,no13).
Probably the same as 8IE-1886-115, Nature morte.

2SdI-1886-315, Projet d’illustration de Il était une bergère.

2SdI-1886-316, Barneville et Bazincourt.

2SdI-1886-317, Église de Bazincourt.
=L’Église d’Éragny, Ashmolean Oxford (R88I,p670)

2SdI-1886-318, Environs de Londres.

2SdI-1886-319, Villerville.

2SdI-1886-320, Vue de Pontoise.

1887:
According to Meadmore Lucien exhibited 3 pictures and several engravings (R312,p44), which doesn’t seem complete. In a review of Fénéon several titles are given↓, but it is unclear how they correspond with the titles from the catalogue (R88I,p670).

3SdI-1887-365, Marais de Bazincourt.

3SdI-1887-366, Coin d’atelier.
Now: 1887, CR19, SDbl, Portrait of Georges Pissarro in Camille Pissarro’s Studio, 64×80, Indianapolis MA (iR2;iR6;iR10;R125,no19;M165).

3SdI-1887-367, Femme cousant.

3SdI-1887-368, Sur l’herbe.

3SdI-1887-369, Route de Gisors. Appartient à Mlle C.
Maybe: L’Église d’Éragny (R125,no11.)

3SdI-1887-370, Paysage.

3SdI-1887-371, Scènes humoristiques. Appartiennent à la Revue illustrée.

3SdI-1887-372, Illustration de Mait’ Liziard.

3SdI-1887-373, Suite de gravures sur bois.

According to a review of Fénéon (R88I,p670), Lucien Pisarro exhibited:

3SdI-1887-371?, Spectateurs et buveurs à la terrassse des cafés élégants, étude de quatre crayons.

3SdI-1887-371?, Spectateurs et buveurs au café-concerts, étude de quatre crayons.

3SdI-1887-371?, Spectateurs et buveurs à la brasserie, étude de quatre crayons.

3SdI-1887-371?, Spectateurs et buveurs chez le marchand de vin, étude de quatre crayons.

3SdI-1887-?, Paysans Normands en chemin de fer

3SdI-1887-?, Paysans Normands à la foire

3SdI-1887-?, Camille Pissarro en blouse et béret à sa table d’aquafortiste

1888:
4SdI-1888-559, Intérieur d’atelier.
Compare: 3SdI-1887-366, Coin d’atelier and the Fénéon title: 3SdI-1887-?, Camille Pissarro en blouse et béret à sa table d’aquafortiste.

4SdI-1888-560, Eventail.

4SdI-1888-561, Les Cafés.

4SdI-1888-562, Suite de croquis.
4SdI-1888-563, Suite de croquis.

 

1889:

5SdI-1889-206, Portrait de Mlle J.-P.
Now: 1889, CR29, SDbr, Portrait of Jeanne (Lucien’s sister), 73×59, private (iR155;iR2;R125,no29) = XX-1890-1.

5SdI-1889-207, Route national, à Gisors.

1890:
According to Meadmore 2 works depicted Eragny (R312,p50), which must be the surroundings of Eragny.

6SdI-1890-621, La rue Saint-Vincent, soleil d’hiver.
Now: 1890, CR34, SDbr, Rue Saint-Vincent, soleil d’hiver, 66×82, FIA Michigan (iR2;R55,p115;R125,no34)

6SdI-1890-622, Prairies à Gisors, temps gris.

6SdI-1890-623, Prairies à Thierceville, temps gris.
Now: 1888, CR25, SDbl, Plain of Thierceville, 51×66, A2011/05/04 (iR2;iR11;R56,p53;R125,no25). See additonal info on Sothebys (iR14).

1891:
Sister of the Woods, engraving with pré-Raphaellite influence (R88I,p671). According to Meadmore it consisted mostly of coloured engravings on wood (R312,p61)

7SdI-1891-935, Le fagot. Gravure sur bois en couleur.

7SdI-1891-936, Enfant cueillant une fleur. Gravure sur bois en couleur.

7SdI-1891-937, Baigneuse. Gravure sur bois.

7SdI-1891-938, Lawn tennis. Gravure sur bois.

7SdI-1891-939, Enfant jouant. Gravure sur bois.

7SdI-1891-940, Premier pas. Gravure sur bois.
7SdI-1891-941, Premier pas. Gravure sur bois.

7SdI-1891-942, Floréal. Gravure sur bois.

7SdI-1891-943, A l’ombre. Lithographie.

 

1892:

8SdI-1892-934, Children in Hyde Park.

8SdI-1892-935, Jardin à Éragny.

8SdI-1892-936, Les Crocus.
Now: 1891, CR39, SDbr, Girl picking flowers, 61×51, A1999/11/11 (iR10;iR157;iR11;iR15;iR6;R125,no39) =XX-1892 =LG1946-55

8SdI-1892-937, Après-midi d’avril, à Bazincourt.

1893:
9SdI-1893-1037, Effet de neige (Eragny).

9SdI-1893-1038, Après la pluie (Bazincourt).

9SdI-1893-1039, Les Pins (effet de soleil).

9SdI-1893-1040, Temps gris après-midi (Bazincourt).

9SdI-1893-1041, Temps orageux (Thierceville).

1894:
10SdI-1894-633, L’automne.

10SdI-1894-634, Prairies à Epping.

10SdI-1894-635, Matinée de septembre.

10SdI-1894-636, Prairies à Epping.

10SdI-1894-637, Soleil couchant à Epping.

 

Les XX:
Lucien Pissarro was several times invited to exhibit with Les XX in Brussels.

1888:

5XX-1888-?

1890:

7XX-1890-1, ?
Now: 1889, CR29, SDbr, Portrait of Jeanne (Lucien’s sister), 73×59, private (iR155;iR2;R125,no29) = 5SdI-1889-623.

1892:

9XX-1892-?, ?
Now: 1891, CR39, SDbr, Girl picking flowers, 61×51, A1999/11/11 (iR10;iR157;iR11;iR15;iR6;R125,no39) =8SdI-1892-936 =LG1946-55

 

New English Art Club (NEAC):
In 1906 Lucien Pissarro joined the New English Art Club, the NEAC (iR3;R55;R88), but already exhibited with them 1904 onwards (R88). He at least exhibited at the NEAC in 1906+07+08+09+10+11+13+14+16+18+20+22+31+36+37+38 (iR15;iR14).

1906 (the 35th exposition):

35NEAC-1906-66, ?
1906, CR109, SDbr, The Golf Links, Acton, a June Morning, 47×56, A2001/06/13 (iR11;iR15;iR10;iR13;R125,no109) =Carfax1913-29

35NEAC-1906-73, ?
=1906, CR115, SDbl, Mortlake, 46×56, A2004/11/19 (iR15;iR2;iR41;R125,no115) =LG1924-84

1907:

NEAC-1907-89, ?
=1907, CR122, SDbr, Vue des coteaux de Bazincourt, 46×56, A2007/06/08 (iR11;iR15;iR10;R125,no122)

NEAC-1907-131, ?
=1907, CR119, SDbr, A foggy morning, Mortlake, 46×54, A2011/11/17 (iR11;iR15;iR155;R125,no119) =NEAC-1911-782 =Carfax-1913-6

NEAC-1907-138, ?
Now: 1900, CR90, The Hillside, Berneval, 65×55, A2018/03/20 (iR11;iR14;iR10;R125,no90)

1908:

NEAC-1908-45,?
=1908, CR127, SDbr, Sketch at Acton, 46×55, A2006/06/09 (iR15;iR14) =NEAC-1910-225 =Carfax-1913-10

1909:
NEAC-1909-54, ?
Now: 1893, CR70, SDbr, An Essex hall, 61×73, A2013/07/11 (iR11;iR15;iR14;R125,no70) =Carfax-1913-32 =CTG1912-10

1910:

NEAC-1910-225, ?
=1908, CR127, SDbr, Sketch at Acton, 46×55, A2006/06/09 (iR15;iR14) =NEAC-1908-45 =Carfax-1913-10

1911:

NEAC-1911-782, ?
=1907, CR119, SDbr, A foggy morning, Mortlake, 46×54, A2011/11/17 (iR11;iR15;iR155;R125,no119) =NEAC-1907-131 =Carfax1913-6

1913:

NEAC-1913-36
=1913/08, CR170, SDbr, Rye from Cadborough Brickfield (Sunny Morning), 54×65, A1999/06/04 (iR15;R125,no170) =LG1946-24

1914:

NEAC-1914-130,
=1914, CR192, SDbr, Brough, misty afternoon, 60×73, A2022/05/14 (iR15;R125,no192)

1916:

NEAC-1916-35
=1916, CR225, SDbr, A wet day, Coldharbour from Roffy’s, 68×53, A2000/06/09 (iR10;iR385;iR11;iR15;R125,no225)

1918:

NEAC-1918-47
=1918/03, CR273, SDbl, Clive Vale, Hastings, 43×54, A2011/11/17 (iR15;R125,no273)

1920 (61th exposition):

61NEAC-1920-15
=1919, CR302, SDbl, High Tide on the Thames, Kew, 44×54, A2017/06/13 (iR2;iR14;R125,no302) =HAG1920-41 =TE1935-37

1922:

NEAC-1922-81
=1922/05, CR335, SDbl, The Orchard, Riversbridge, 65×53, A2003/11/21 (iR15;R125,no335)

1931:

NEAC-1931-97
=1931, CR484, SDbl, End of the Village, Dardennes, 47×56, A2022/02/23 (iR15;R125,no484) =LG1934-38

1936:

NEAC-1936-8
=1936, CR527, SDbl, The village of Chideock, Dorset, 46×55, A2017/11/23 (iR15;R125,no527)

1837:

NEAC-1937-221
=1937, CR533, SDbr, Le Lauron, Cotignac, 53×64, A2004/06/04 (iR15;R125,no533)

NEAC-1937-225
=1937/06, CR534, SDbr, La Combe St Hermentaire (Genets), Cotignac, 53×65, A2001/11/23 (iR15;iR11;R125,no534) =NEAC-1938-78

1938:

NEAC-1938-78
=1937/06, CR534, SDbr, La Combe St Hermentaire (Genets), Cotignac, 53×65, A2001/11/23 (iR15;iR11;R125,no534) =NEAC-1937-225

1942:
Lucien exhibited at least 2 works of which a recent smaller picture that had a marvellous light (R312,p230).

 

Camden Town Group (=CTG):
In 1911 Lucien Pissarro was co-founder of the Camden Town Group (=CTG) (R3;R9;R55;iR3;R88).

1911/06 (1st exposition):
Lucien showed 3 of his Colchster landscapes and his impressive Well Farm Bridge, depicting a train thundering under a bridge. It opened June 1911 (R312,p136)

1CTG-1911/06-13
=1911, CR148, SDbr, Buttercups, Colchester, 46×55, A2012/05/24 (iR15;R125,no148) =Carfax1913-35 =LG1946-23

1911 (2nd exposition):

2CTG-1911-45
=1911, CR133, SDbl, The brook, sunny weather, 56×46, A2014/05/28 (iR11;iR15;R125,no133) =Carfax1913-23

1912/12:
The 3rd and last exhibition of the Camden Town Group held at the Carfax Gallery in Bury straat, St. James’s was held in December (R312,p140)

3CTG-1912/12-10, ?
1893, CR70, SDbr, An Essex hall, 61×73, A2013/07/11 (iR11;iR15;iR14;R125,no70) =NEAC-1909-54 =Carfax1913-32

 

Carfax Gallery, London:

1913/05:
1913/05 the 1st solo-exhibition of Lucien Pissarro was held at the Carfax Gallery in London (aR8;R88;R3).

Carfax-1913-6, ?
=1907, CR119, SDbr, A foggy morning, Mortlake, 46×54, A2011/11/17 (iR11;iR15;iR155;R125,no119) =NEAC-1907-131 =NEAC-1911-782

Carfax-1913-9
=1913, CR157, SDbl, Blackpool, the white house, 65×55, A2000/06/09 (iR11;iR15;R125,no157)

Carfax-1913-10, ?
=1908, CR127, SDbr, Sketch at Acton, 46×55, A2006/06/09 (iR15;iR14) =NEAC-1908-45 =NEAC-1910-225

Carfax-1913-23
=1911, CR133, SDbl, The brook, sunny weather, 56×46, A2014/05/28 (iR11;iR15;R125,no133) =2CTG-1911-45

Carfax-1913-29, ?
Now: 1906, CR109, SDbr, The Golf Links, Acton, a June Morning, 47×56, A2001/06/13 (iR11;iR15;iR10;iR13;R125,no109) =35NEAC-1906-66

Carfax-1913-32, ?
Now: 1893, CR70, SDbr, An Essex hall, 61×73, A2013/07/11 (iR11;iR15;iR14;R125,no70) =NEAC-1909-54 =CTG1912-10

Carfax-1913-35
=1911, CR148, SDbr, Buttercups, Colchester, 46×55, A2012/05/24 (iR15;R125,no148) =1CTG-1911-13 =LG1946-23

 

Monarro Group (=MG):
In 1919 Lucien Pissarro was co-founder of the Monarro Group (=MG), who promoted Impressionism in England; the groupe seized in 1922 (R312,p167/8;R3;R55;iR3).

1920 (1st exposition):
Some critics noted that Lucien was a humble follower of his father. Frank Rutter reviewed that Lucien has a greater vivacity and brilliance of colour and better qualities of design. Sir Claude Phillips praised in the Daily Telgraph his ‘fineness of balnce’. (R312,p168).

1MG-1920-167
=1916, CR246, SDbr, Sunset Sketch, Sedgehill, 54×65, A2015/11/17 (iR14;CR125,no246)

1MG-1920-?, All Saints’ Chuch, Hastings
Mentioned in a review by Frank Rutter in the Sunday times (R312,p168).

1MG-1920-?, Sea Mist, Coney Castle
Mentioned in a review by Frank Rutter in the Sunday times (R312,p168).

1MG-1920-?, The Postesses, East Knoyle
Mentioned in a review by Frank Rutter in the Sunday times (R312,p168).

 

Hampstead Art Gallery in London:
In 1920/10/20 -11/15 there was a retrospective exhibition held with paintings and drawings at the Hampstead Art Gallery (=HAG1920) in London (iR14).

HAG1920-41
=1919, CR302, SDbl, High Tide on the Thames, Kew, 44×54, A2017/06/13 (iR2;iR14;R125,no302) =61NEAC-1920-15 =TE1935-37

 

Leicester Gallery, London:
Lucien Pissarro exhibited several times at the Leicester Gallery (=LG) in London at least in 1922/10; 1924/10; 1927/07; 1929/11; 1933/Summer; 1934/11; 1936/Summer; 1943/06; 1946/01 and 1947/12 there were Memorial exhibitions held (iR15;iR14;R312,p237).

1922/10:

LG1922-26
=1922/09, CR352, SDbr, Compas Rocks, Dartmouth, 44×53, A2003/06/06 (iR15;iR11;R125,no352)

1924/10:

LG1924-84, ?
=1906, CR115, SDbl, Mortlake, 46×56, A2004/11/19 (iR15;iR2;iR41;R125,no115) =NEAC-1906-73

LG1924-97
=1923, CR366, SDbr, Vue du Lavandou avec mer bleu, 60×73, private (iR2;iR14;R125,no366). See additional info on Sothebys (iR14).
=? 1923, CR366?, SDbr, Mimosa View on Lavandou), 60×73, Birmingham MT (iR155;iR6;iR2;iR14;R125,no366?)

LG1924-102
=1922/12, CR354, A stormy day (A farm, le Levandou), 28×38, A2009/11/11 (iR14;iR11;R125,no354) =LG1946-39

1927/07:

LG1927-20
=1925, CR410, SDbl, Soleil Couchant dans les Pins, Le Brusq, 46×38, A2005/06/02 (iR14;iR13;iR10;R125,no410). See additional info on Sothebys (iR14).

LG1927-23
=1925, CR419, SDbl, Ruffit, Grayshott, 53×44, A2007/06/08 (iR11;iR15;R125,no419) =LG1934-24

LG1927-26
=1927, CR434, SDbl, Almond Tree at Averne, Bormes, 46×38, A2017/11/23 (iR2;iR15;R125,no434)

1929/11:

LG1929-15
=1929, CR466, SDbr, Le Bau de 4 Heures, Toulon, 56×47, A2017/09/13 (iR14;R125,no466)

LG1929-17
=1929, CR463, SDbl, Un rocher du Faron (soleil), Toulon, 59×73, A2022/03/23 (iR15;R125,no463) =LG1943-59 =LG1946-51

LG1929-35
=1929, CR461, SDbl, Les oliviers, temps gris, Toulon, 55×65, A2018/06/20 (iR11;iR15;R125,no461)

1933/summer:

LG1933-107
=1917/05, CR131, SDbr, The Postesses (Lilac and Laburnum), East Knoyle, 53×65, A1999/06/04 (iR11;iR15;iR10;R125,no131)

1934/11:

LG1934-18
=1934/09, CR510, SDbl, The millstream, Stratford St. Mary, 46×55, A2000/11/24 (iR155;iR11;iR15;R125,no510) =LG1943-52

LG1934-24
=1925, CR419, SDbl, Ruffit, Grayshott, 53×44, A2007/06/08 (iR11;iR15;R125,no419) =LG1927-23

LG1934-31
=1927, CR442, SDbr, Stamford Brook Green, snow, 53×43, A2013/07/11 (iR11;iR15;R125,no442)

LG1934-37, sketch
=1927/12, CR443, SDbl, Stamford Brook Green, snow, 53×51, A1999/11/26 (iR15;iR11;R125,no443)

LG1934-38
=1931, CR484, SDbl, End of the Village, Dardennes, 47×56, A2022/02/23 (iR15;R125,no484) =NEAC-1931-97

1936/Summer:

LG1936-60
=1936, CR524, SDbr, Rhododendrons, Hawkchurch, 55×46, A2008/07/15 (iR15;iR14;R125,no524) =LG1943-55

1943/06:

LG1943-52
=1934/09, CR510, SDbl, The millstream, Stratford St. Mary, 46×55, A2000/11/24 (iR155;iR11;iR15;R125,no510) =LG1934-18

LG1943-55
=1936, CR524, SDbr, Rhododendrons, Hawkchurch, 55×46, A2008/07/15 (iR15;iR14;R125,no524) =LG1936-60

LG1943-59
=1929, CR463, SDbl, Un rocher du Faron (soleil), Toulon, 59×73, A2022/03/23 (iR15;R125,no463) =LG1929-17 =LG1946-51

1946, Memorial exhibition:
In January 1946 there was a Memorial exhibition held at the Leicester Gallery in London after Lucien Pissarro his death 1944/07/10 (iR15;iR14).

LG1946-?
=1928, CR456, SDbr, Brookleton, misty morning, Youlgreave, 43×54, A2014/03/20 (iR11;iR15;R125,no456)

LG1946-16
=1917/02, CR257, SDbr, St Mary’s Church in the mist, East Knoyle, 53×65, A2003/11/21 (iR15;R125,no257)

LG1946-23
=1911, CR148, SDbr, Buttercups, Colchester, 46×55, A2012/05/24 (iR15;R125,no148) =1CTG-1911-13 =Carfax1913-35

LG1946-24
=1913/08, CR170, SDbr, Rye from Cadborough Brickfield (Sunny Morning), 54×65, A1999/06/04 (iR15;R125,no170) =NEAC-1913-36

LG1946-39
=1922/12, CR354, A stormy day (A farm, le Levandou), 28×38, A2009/11/11 (iR14;iR11;R125,no354) =LG1924-102

LG1946-51
=1929, CR463, SDbl, Un rocher du Faron (soleil), Toulon, 59×73, A2022/03/23 (iR15;R125,no463) =LG1929-17 =LG1943-59

LG1946-55, ?
Now: 1891, CR39, SDbr, Girl picking flowers, 61×51, A1999/11/11 (iR10;iR157;iR11;iR15;iR6;R125,no39) =XX-1892-? =SdI-1892-936

 

1935, travelling exhibition:
In 1935 there was a travelling exhibition held of ‘Oils, Watercolours and Drawings by Lucien Pissarro’ touring to Belfast, Gateshead, Rochdale and Manchester (=TE1935) (iR14;iR15;R312,p208).

TE1935-37
=1919, CR302, SDbl, High Tide on the Thames, Kew, 44×54, A2017/06/13 (iR2;iR14;R125,no302) =61NEAC-1920-15 =HAG1920-41

 

 

Recommanded citation: Impressionism: Lucien Pissarro, an account of his exhibited art-works. Last modified 2024/01/30.  https://www.impressionism.nl/pissarro-lucien-account/