The Impressionist Vision
The Impressionist Vision
377 Geary Street San Francisco CA 94102 phone: 415-397-7781
fax: 415-397-7784
w w w. c l a r k f i n e a r t . c o m
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Foreword As the most popular movement in the history of art, Impressionism’s irresistible allure is its seductive vision of a world pulsing with color and light. By observing life’s ephemeral moments and distilling their very essence, the Impressionists were able to captivate the viewer in a way that was unique and totally unexpected. Impressionism today is a cultural touchstone of such note that it is difficult to fathom the contentious response it first received. In the early days of the movement, the sensibilities of collectors and critics alike were offended by the “unfinished” appearance of the art. It was as if the highly visible brushwork and bold, unblended colors were mocking the rigid principles of the academic tradition. The proverbial line had been drawn in the sand, forging a new trajectory that changed the course of artistic expression. The path that emerged, though narrow at first, soon opened to the broad vistas of Modern Art and the innovations of the 20th century. The Impressionists developed an affinity for working en plein air, not only to capture the fleeting effects of light, but to infuse their art with a more dynamic energy. With the advent of photography, artists had become fearful of the potential demise of painting, so the Impressionists sought to make it relevant again. That progressive spirit also served as a potent catalyst in their approach to printmaking. Renoir, for example, aligned himself with Auguste Clot, the greatest lithographer of his day, to create original prints that reflected a painter’s point of view. Their collaboration resulted in such masterworks as Enfants Jouant à la Balle and Le Chapeau Épinglé, two of the finest lithographs in the history of art. Camille Pissarro and Mary Cassatt shared in this passion for printmaking and even acquired their own presses to more fully explore the possibilities. They created exceptional works ranging from Pissarro’s rare color etching Marché de Gisors, Rue Cappeville to Cassatt’s sublime drypoint Tea. Manet was also deeply involved and produced an impressive array of fine prints including La Toilette, his graceful study of the draped female form. We are very fortunate to include all of these works in our special exhibition. The enduring appeal of Impressionism has been its ultimate validation, and yet we continue to seek a better understanding of the art and philosophy of these beloved artists. It is our hope that The Impressionist Vision will enhance your insight into their remarkable accomplishments. Mark Miles Director
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Pierre-Auguste Renoir (1841-1919)
“Work lovingly done is the secret of all order and all happiness.�
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Enfants Jouant Ă la Balle
Original lithograph printed in ten colors 1900
23 Âź x 20 inches
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Clockwise from top left Le Chapeau Épinglé
(La Fille de Berthe Morisot et sa Cousine) 1ere Planche
Original drypoint, 1894 4 9/16 x 3 1/4 inches Le Chapeau Épinglé
(La Fille de Berthe Morisot et sa Cousine) 2e Planche
Original drypoint, 1894 5 3/16 x 3 11/16 inches Le Chapeau Épinglé
(La Fille de Berthe Morisot et sa Cousine) 3e Planche
Original drypoint, c. 1894 4 5/8 x 3 1/4 inches
So fond was Renoir of this theme, that he explored it in both etching and lithography. The two models depicted are Julie Manet, the daughter of Berthe Morisot and niece of Edouard Manet, and her cousin Paulette Gobillard.
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Le Chapeau Épinglé, 2e Planche
Original lithograph printed in eight colors
1898
24 x 19 ½ inches
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Renoir’s children, Pierre, Jean and Claude (nicknamed Coco) were a constant source of inspiration for the artist. The delightful depictions of Claude and Pierre illustrated on this page, and the highly important lithograph of Jean nibbling on a biscuit on the next, are loving tributes to the innocence of youth. Clockwise from top left Claude Renoir, de Trois-Quarts à Droite Original softground etching, 1908 6 1/2 x 5 1/8 inches Claude Renoir, Tourné à Gauche Original lithograph, 1904 5 1/8 x 4 5/8 inches Pierre Renoir, de Face Original lithograph, 1893 11 1/2 x 9 1/2 inches
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L’Enfant au Biscuit (Jean Renoir)
Original lithograph printed in eight colors
1899
12 7/8 x 10 5/8 inches
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Le Fleuve Scamandre, 2e Planche
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Original etching
1900
9 15/16 x 7 5/8 inches
La Danse Ă la Campagne, 2e Planche
Softground etching
1890
8 5/8 x 5 5/16 inches
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Femme Nue Couchée (Tournée à Droite) 1re Planche
Odalisque
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Original lithograph
Drypoint
1904
1906
5 1/16 x 7 13/16 inches
3 1/8 x 4 7/8 inches
“I never think I have finished a nude until I think I could pinch it.� ~Renoir
Baigneuse, Debout, en Pied
Original lithograph printed in eight colors
1896
16 1/8 x 13 9/16 inches
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Étude pour une Baigneuse, 2e état Original drypoint etching, 1906
8 3/4 x 6 5/8 inches
Étude de Femme Nue, Assise Original lithograph, 1904 7 1/2 x 6 3/8 inches
Baigneuse Assise Original softground etching, 1905 8 5/8 x 5 3/8 inches
Femme Nue Assise Original softground etching, 1906 7 1/4 x 5 3/4 inches
Louis Valtat Original lithograph, 1904 11 3/4 x 9 1/2 inches
Ambroise Vollard Original lithograph, 1904 9 3/8 x 6 3/4 inches
Paul CĂŠzanne Original lithograph, 1902 9 5/8 x 9 1/2 inches
Richard Wagner Original lithograph, 1900 17 1/8 x 12 5/8 inches 17
Camille Pissarro (1830-1903)
“All the sorrows, all the bitterness, all the sadness, I forget them and ignore them in the joy of working.�
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Le Chemin, Paysage Hivernal
Oil on canvas
1862
14 ž x 11 1/4 inches
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Cheval Blanc et Tombereau
Paysage
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Oil on canvas
Pencil and watercolor drawing
1862
1878-1882
9 ¾ x 13 inches
6 ¾ x 9 ¾ inches
La Bonne Faisant son MarchĂŠ Original etching, 1888 7 3/4 x 5 3/8 inches
Marchand de Marrons Original drypoint, 1878 8 3/16 x 6 7/16 inches
Paysanne au Puits Drawing in black crayon, c. 1890 9 3/8 x 7 3/4 inches
Paysanne au Puits Original etching with aquatint, 1891 9 1/4 x 7 3/4 inches 21
La Charrue
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Original lithograph
1901
8 7/8 x 5 15/16 inches
MarchĂŠ de Gisors, Rue Cappeville
Original etching
1894-1895
7 3/4 x 5 1/2 inches
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Chennevières
Quai du Pothuis, Pontoise
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Original watercolor
c. 1865
9 3/4 x 16 inches
Original graphite drawing on paper
1876
4 x 6 3/4 inches
Rue Eugène-Dutuit à Rouen Original lithograph, 1896 8 13/16 x 6 inches
Notre-Dame de Bruges Original etching and aquatint, 1894 8 1/2 x 5 5/8 inches
Pissarro felt a profound connection with nature and returned to it frequently in his art. It not only served as an earthly muse, but as a source of truth and solace. He was greatly influenced by the Barbizon School and its celebration of the sacredness of the natural world. Even when depicting scenes of life in the cities and villages of France, the presence of nature was still palpable.
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Paysanne Debout Chalk drawing on paper
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c. 1898-1902
14 1/4 x 6 1/8 inches
Baignèuse Pres d’un Bois Original lithograph, c. 1896 8 1/8 x 4 15/16 inches
Baigneuses (Le Jour)
Baigneuse Vue de Dos Original etching and drypoint, 1895 3 7/16 x 2 7/8 inches
Original zinc plate lithograph
c. 1895
5 1/4 x 7 15/16 inches
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Femme à la Barrière Original etching and aquatint, 1889 6 5/16 x 4 3/8 inches
Mère et Enfant Original drypoint and aquatint, c. 1882 5 9/16 x 3 15/16 inches
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Paul CĂŠzanne
Original etching
1874
10 9/16 x 8 7/16 inches
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Mary Cassatt (1844-1926)
“It is as well not to have too great an admiration for your master’s work. You will be in less danger of imitating him.”
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Mère et Enfant
Pastel and charcoal drawing on paper
c. 1902
25 1/2 x 19 5/8 inches
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Simone Resting Her Head on the Back of a Chair Original drypoint, c. 1903 7 5/8 x 7 inches
Sara Wearing Her Bonnet and Coat Original lithograph, 1904 20 x 16 7/16 inches 32
The Bonnet Original drypoint, c. 1891 7 7/16 x 5 9/16 inches
Denise Holding Her Child Original drypoint, c. 1905 8 1/4 x 5 7/8 inches
Tea
Original drypoint
c. 1890
7 x 6 1/8 inches
Cassatt’s work was a meditation on life’s understated moments. The intimate depictions of mothers nurturing their children, as well as the recurring theme of quiet reflection, give us clear insight into her focused sensibilities. For an artist drawn to the intimacy of such subject matter, Cassatt was a person of surprising strength and fortitude. As an expatriate assimilating into the upper echelons of Paris society, and as a female artist striving for acceptance in a male dominated profession, Cassatt was able to forge a charmed existence in her adopted country.
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Édouard Manet (1832-1883)
“It is not enough to know your craft - you have to have feeling.”
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Victorine Meurent en Costume d’Espada
Original etching and aquatint
1862
13 1/8 x 10 13/16 inches
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La Toilette
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Original etching
1862
11 1/8 x 8 9/16 inches
Olympia (planche ĂŠdit)
Odalisque
Original etching and aquatint
Original etching and aquatint
c. 1868
1867
3 7/16 x 7 inches
5 x 7 3/4 inches
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Clockwise from top left Berthe Morisot en Silhouette Original lithograph, 1872-1874 7 1/4 x 5 1/8 inches
Jeanne (Le Printemps) Original etching with roulette and aquatint, 1882 6 1/8 x 4 1/4 inches
Le Chat et les Fleurs Original etching with aquatint, 1869 7 3/4 x 5 7/8 inches
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L’Infante Marguerite
Original etching
1862
6 1/2 x 5 13/16 inches
Manet was not only a painter of considerable talent, but an artist who made great contributions in the realm of printmaking. He was a founding member of the Société des Aquafortistes in 1862 and was influential in the revival of etching as a medium for fine art. Manet looked upon painting and etching as equals and would often use them to explore the same composition. His fascination with Spanish themes and the paintings of Velázquez are apparent in etchings such as L’Infante Marguerite above, while Japanese ukiyo-e prints influenced both Jeanne and Le Chat et le Fleurs on the preceding page.
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Pissarro’s Descendants
Camille Pissarro & family c. 1885. Clockwise from bottom left: unknown woman, Camille, Georges, Félix, Lucien with Rodo, unknown woman, Jeanne & Julie with Paulémile
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Lucien Pissarro (1863-1944)
Lane Head Farm, Brough
Boissy L’Aillerie
Oil on canvas
1914
Watercolor and crayon on paper
19 5/8 x 25 3/8 inches
1926
6 ž x 9 7/8 inches 41
Georges-Henri (Manzana) Pissarro (1871-1961)
Les Baigneurs, les Andelys
Oil on canvas mounted on board
Bord de Seine aux Andelys
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Oil on board
1953
1927
10 Âź x 13 3/8 inches
12 x 19 1/8 inches
La Maison de Madame RosiĂŠre
Les Baigneuses
Oil on board
Oil on board
c. 1955
1953
18 Âź x 21 7/8 inches
11 x 13 3/4 inches
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Pont et Barque
Pastel on paper
La Rue Royal, Paris
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1897
Oil on canvas
14 ¼ x 21 ¼ inches
1950
15 x 21 ¾ inches
Ludovic-Rodo Pissarro (1878-1952)
Paysage avec Canal Oil on canvas, c. 1910-1915 39 5/8 x 27 ž inches
Back Gardens, Ashford Watercolor on paper, 1920 8 5/8 x 10 7/8 inches
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Paysage de Rivière
Watercolor on paper
Vue du Petit Andelys 46
Oil on canvas
c. 1920
1925
11 ¼ x 15 ¼ inches
18 1/8 x 24 inches
Paulémile Pissarro
L’Ile de Clécy
Oil on canvas
c. 1940
(1884-1972)
21 5/8 x 18 1/8 inches
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L’Orne à Cantepie, Contre Jour
L’Arbre Penché 48
Oil on canvas
Oil on canvas
c. 1935
c. 1950
18 1/8 x 24 inches
19 5/8 x 25 5/8 inches
Arbres aux Andelys Oil on canvas, 1922 21 1/2 x 18 inches
Bridge Over the Orne Oil on canvas, c. 1930 21 ½ x 25 ¾ inches
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Le Pont du Vey
Bords de la Lieure en Été 50
Oil on canvas
Oil on canvas
1930
1930
20 x 24 inches
21 ¼ x 25 5/8 inches
Hugues Claude Pissarro
(born 1935)
Le Domaine du Haut de la Lande
Pastel drawing
1999
14 1/2 x 19 13/16 inches
La Vallee de L’Orne au Printemps
Pastel drawing
1999
14 9/16 x 19 5/8 inches 51
Juillet – Quartier Latin
Le Chateau des Osters
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Oil on canvas
Pastel drawing
2009
2008
19 ž x 24 inches
14 5/8 x 20 1/8 inches
Venise Fin du Jour
Zurich
Pastel drawing
Pastel drawing
2010
2009
14 5/8 x 20 inches
14 1/2 x 20 inches
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Le Pont de Six Juin
Oil on canvas
2008
19 ¾ x 24 inches
Katia dans le Jardin D’Yves Saint-Laurent à Deauville Oil on canvas 54
c. 2004
38 3/8 x 51 1/2 inches
Le Bouquet d’Agnes Pastel drawing, 2005 20 x 14 9/16 inches
Panier de Fleurs Pastel drawing, 2006 14 5/8 x 20 1/4 inches
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Lélia Pissarro
Yeyette’s House Watercolor on paper
Oscar à Cantepie Watercolor on paper
(born 1963)
2010
2010
6 ½ x 10 1/8 inches
5 ½ x 8 ¾ inches
Catalog Design and Commentary: Mark Miles Layout and Photography of Art: Michael Bennewitz Front Cover: Renoir, Enfants Jouant à la Balle, 1900 Back Cover: Pissarro, Marché de Gisors, Rue Cappeville, 1894-1895
©2010 Christopher-Clark Fine Art
377 Geary Street San Francisco CA 94102 phone: 415-397-7781 fax: 415-397-7784 w w w. c l a r k f i n e a r t . c o m