Delving into Pissarro's Artistic Rebellion | Perspective

foreign [Music] 1874 and 1886 the City of Paris was the venue for an artistic Revolution the eight exhibitions of work by the artists who became known as the Impressionists Monet Renoir and dagar were amongst the now famous names who featured at these exhibitions but the only major artist represented at all eight was Kamil pisaro [Music] today pisaro's Works sell for Millions but during his lifetime success was often elusive it took time for his genius to be recognized but genius it undoubtedly was as a man he was a radical a passionate believer in the importance of the individual he also took a radical approach to his art a pioneer of impressionism he later abandoned the style completely before returning to it and producing some of the greatest images of the whole impressionist age it is for this artistic Journey The pisaro Remains celebrated today foreign was the oldest of the Impressionists he was born in July 1830 at Saint Thomas a West Indian Island where his French Jewish father ran a prosperous General Store at the age of 11 the boy Pizarro was sent to boarding school in Paris where he first displayed an enthusiasm for art [Music] returning home at the age of 17 he then worked as a clerk in the family business but without any great enthusiasm for his job it relegated what was now his real passion painting to a spare time activity pissarro grew frustrated and when a chance came to escape from Saint Thomas he seized the moment in 1852 he became acquainted with a traveling Danish artist Fritz melbai when Melbourne chose to move on to Venezuela pisaro decided to leave his job and go with him later in life he explained his reasons in 1852 I was a well-paid clerk in Sir Thomas but I could stand it no longer without a second thought I threw in the towel and headed for Caracas it was the first bold decision of pisaro's life it would not be the last Arrow spent two years in the Venezuelan Capital he survived by painting portraits and he grew ever more convinced of his Destiny as a painter when he eventually returned to Thomas in 1854 he was able to convince his father that his future lay in art that meant the young man would have to leave the Caribbean once more and return to the very center of French artistic life Paris [Music] what he carried with him when he went to France was his love of the countryside so he began in fact painting the countryside and although later on in his life he was interested in including people because he was a socialist and he wanted to put people working in the countryside to portray the countryside properly it basically he was a he was a landscape painter and that's how his upbringing influenced him he never left that love behind because he was born so far away from the heart of France [Music] he had a much slower development than the other Impressionists his ideas were slightly more in tune with the Barbizon pages I just like Mia and corvetti and provided in some senses a mediating force between his Barbies on painting and that earlier phase from the 1850s and the early 1860s to impressionism from the later 1860s and into the 1870s [Music] the 25 year old Pizarro arrived back in the French capital in the Autumn of 1855 assisted by a small Financial allowance from his father as an aspiring artist the timing of his arrival was excellent he was able to visit the last days of the World's Fair one of the many expositions of the age it included a large exhibition of paintings by the greatest French artists of the day pisaro was hugely impressed with the campuses on show he especially admired the work of some of the more Innovative artists these included the realists Gustav korbe and jean-francois millet both famed for the images of working peasants in a rural setting also of interest to Bizarro was the work of Camille Coral an Enthusiast for the then unfashionable art of landscape painting Corby very much an urban very started but also the Barbizon School with Koro and Miller were concerned with the Contemporary and the ordinary and that was a profound influence upon Camilla's approach to subject matter and to the purpose of painting Koro was among the first French landscapists to paint out doors in the open air previously a landscape painting was only sketched Outdoors the final canvas was executed in the studio but in the mid-19th century Cameo Koro and the painters of the so-called Barbizon School reacted against the old tradition their outdoor images were fresher lighter and were often characterized by a greater sense of realism than the dark toned historical Works favored by the annual official exhibition of French art the salon these were the artists that influenced the young Pizarro as they would all the great Impressionists Pizarro's first Master whom he chose was Koro who was of course a landscape painter who went outside to paint and this was something that Pizarro started doing after a few years from the 50s to the early 60s of aligning himself to Koro Pizarro changed his Allegiance really to Corby and began including figures more in his work even some quite large figure compositions what he took from Corby was the application of paint the free brush stroke and what appealed to him as well in Corby was corby's political stance which was socialist Corby caused a revolution in subject matter instead of painting even the aristocracy let alone Greek nymphs he painted the peasants that he knew from growing up in the countryside and his Burial at all gnaw caused an enormous Scandal because there were life-size peasants dominating the whole picture and it was considered very unsuitable but this appealed to Bizarro who was a socialist himself [Music] inspired by Koro Pizarro began to paint out doors continuing his training with Spells at the echol de Boons and at the famous Swiss Academy in 1859 he had his first public success when the salon accepted one of his Landscapes but money was always a problem at this stage of his career this was in spite of the continuing support of his family who had also returned to Paris at times Pizarro was once again compelled to work for the relocated family business but he was able to continue painting mostly in the open air sadly few of those early Works have survived one that has dates from 1864. a depiction of the banks of the river man this campus was another successful Salon entry but it is a disappointingly subdued image significantly it is a canvas painted in the studio almost certainly executed with a conservative Taste of the salon in mind like many artists of his age Pizarro was prepared to compromise his art for the sake of Commercial Success the salon in the 60s certainly and of course later as well was very important for most artists in the 60s the Impressionists consider the sallow important because there was no other outlet for them they they didn't show their paintings in the salon they would have great difficulty finding buyers and establishing a reputation for themselves at the early part of Sorrows career exhibiting at the soul was almost essential it was really the the only way an artist could ever hope to become a professional artist it was the only exhibiting venue he had he wanted to paint peasants orientated paintings now there was in fact a niche for that kind of artist within the salon at the time despite the fact the majority of paintings were classical paintings from Greece and Rome it gave him an intro into the cell but it was never one that allowed him really to build very much of a career on and so he looked outside of that system in 1864 Pizarro's desire for commercial success was understandable he was now head of his own family four years previously he took up with his mother's maid Julie vele in 1863 the still unmarried couple had a son Lucia the first of their six children who would reach adulthood money now became even tighter but somehow the young family survived in 1866 the pisaros moved to the town of pontoirs to the northwest of Paris it was cheap and it gave Camille pisaro the opportunity to paint in the open air but he was now in his mid-thirties and his art was still evolving pizzaro's influences revealed themselves in his work in barges at La rocheon from 1865 he used the palette knife in the manner of Gustav Kobe [Music] the continuing influence of Koro also made itself felt in canvases such as this 1868 image of the pothias key at pontoirs although pisaro's contrasting of light and shade is more striking than that of the older artist the late 1860s also saw Pizarro influenced by painters younger than himself by the time this campus was painted Pizarro was already in regular contact with a group of artists with whom he would become forever Associated the painters known to posterity as the Impressionists about characteristic separate style from the other impressionist with personnel's painting we see a very much more low toned rather quiet campaign his brush Strokes tend to be smaller rather more speckled than the other painters and his paintings are quite characteristic one can recognize him sorrow as being distinct from say a Monier or Renoir Pizarro had first met Claude Monet as early as 1859 and by the late 1860s he had struck up a friendship with the self-confident young artist from lehave they met regularly at paris's Cafe jebois along with other young painters including August grenoir Alfred Sisley and Frederick Bazil well the Impressionists began to discuss their work they tended to look back at artists whose work was akin to that Pals was a painter who painted very freely in the way that the Impressions did very often Hal's portrait was done just in one sitting two or three hours he was the only painter in the 17th century who would do this and his paintings have the spontaneity that impressionist paintings have but at the same time they found Jan Vermeer Vermeer was an artist who was virtually unknown at the time when he died in 1675 he almost disappeared Into Obscurity until the middle of the 19th century [Music] the impressionist artists could see how familiar had used blue and purple in the shadows when all artists had so that he understood how color operated in the same way that the Impressionists worked the 17th century Dutch were concerned with the Contemporary and the ordinary he was an artist producing very direct and very simple work concentrating upon the quantity of light figures and Interiors seen in relation to light with broad brush Strokes broad areas of camera not huge amounts of detail at all these were very much parcel of the thinking of before some of the other Impressionists though no record survive of their conversations at the jebois it is known that pissarro was the most Keen to talk politics perhaps prompted by his financial difficulties Pizarro had become a political radical a republican with a strong belief in the rights of the individual in time this belief led to his embracing the philosophy of anarchism and he threw off his Jewish upbringing to become a militant atheist in addition to politics the Young Artists at the cafe jebois often discuss their own work stimulated by these discussions the paintings of Monet Renoir pisaro and others began to display certain similarities of approach these included an emphasis on open-air landscape painting the use of choppy brush work that obscured detail and a belief in contemporary subject matter they began to reject the dark tones of the typical Salon painting and came to the Viewpoint that light was more important than fall in the late 1860s these themes established themselves among the artists at the cafe jabois these were the basic tenets of what would become known as impressionism has impressionism report since developed the techniques which were employed followed the particular way in which the artists were going that we can see quite a difference for instance between Monet and between Digger it was more of a consistency in bizarro's exercise than there was in argue any of the other Impressionists there is a developing interest in color there is a consistency in his subject matter he's concerned with the surroundings it's concerned with be at the open Village or the town and that he pursued therefore a more logical and reasoned path yeah the cafe jebois artists also discussed new theories of color notably the work of Eugene Chevrolet a chemist who discovered that an individual color is not absolute in its effect but contingent upon the colors that surround it in the summer of 1869 Claude Monet and August Renoir Incorporated these theories in their famous paintings of La grenoir a bathing spot at the Parisian Riverside suburb of bourgeoven for many the work they produce that summer marks the birth of impressionist painting but it was not only Monet and Renoir who painted at bougieval Kamil pesaro was there as well in the spring of 1869 he had moved with his family to nearby Lucian that summer he too painted at Le Grand Ware there were a number of places near to Paris or in the the larger confines of Paris to which a number of Impressionists went for their subject matter is concerned with the people Renoir likewise [Music] Monet and Pizarro see more concerned with other more sort of natural effects within an urban environment it was a quality of light reflecting off the water which for instance Monet does that make sense we're concerned with it was reflections of light and kind of almost an abstract sense the actual individuals or the buildings individual trees individual people were not as relevant as the visual effect in the early part of his career Pizarro's paintings were accepted by the sandal that is in the late 50s early 60s and when he began painting like this in the mid 60s and late 60s his paintings were not accepted by the salon he began taking a serious interest in color from reading chevrole's book on color theory and observing for himself that light altered the color of things he also realized that Shadows were not black but were various colors in fact and even sometimes had complementary colors reflecting through them so in fact he was one of the main supporters of the idea of an alternative exhibition for the impressionist group themselves and he fully supported this idea all the way through his career the similarity between the approach of Monet Renoir and pissarro can be seen clearly with diligence at Lucien a pisaro canvas from 1870 that uses small dabs of color to create a light shimmering and profoundly impressionist image its technical Inspirations are identical to those that informed the work of Monet in particular but soon after this campus was completed Pizarro and Monet found themselves with more in common than just their art technique in July 1870 the franco-prussian war broke out by the end of the year both Monet and pisaro were in Exile in the capital of the British Empire London Pizarro's Exile was perhaps surprising as a radical republican he was Keen to fight once the Emperor Napoleon had been deposed and a new Republic declared but his mother reminded him of his family obligations and so Pizarro left Luv sienne he traveled first to Brittany and then in December 1870 to London sorrow actually had relatives in London and he went to live in Norwood in South London and he painted places like penge station and upper Norwood and dulwich college and a lot of his most characteristic most well-known and in a way its most atmospheric paintings came from that little period when he was working in London it's very evident that they are England rather than northern France this became a sign for him that he could create images that gave a sense of place and not simply the sense of the light effects within a strict impressionist Theory it was a mixed time for him on the positive side he was able to study the great works of Turner and Constable alongside his fellow Exile Monet he also continued to paint producing memorable images of the South London suburbs where he lived including this painting of the famous Crystal Palace he met Paul Duran Royer the art dealer who more than anyone would back the Impressionists with Hard Cash finally Pizarro used the London exile to legitimize his relationship with Julie in June 1871 they married at a register office in Croydon but by then Pizarro desperate to return to France that month he wrote bitterly to a friend here there is no art everything is a matter of business it is only abroad that you realize just how beautiful great and hospitable France is but when he was able to return to his home later in 1871 he found a disastrous scene waiting for him Prussian soldiers and used his Lucian house as a Billet with terrible consequences for the hundreds of paintings the artists had had to leave behind Pizarro himself estimated that over 1200 paintings and drawings had been taken or destroyed this is the reason why so little of his 1860s work can still be seen today remarkably Pizarro appears not to have brooded long on This undoubted Disaster now sooner had he returned to Lucian then he was once more painting in the area Road at Lucien gives a flavor of this post-war work as does wash house at bourgeo Val an 1872 canvas with a strong emphasis on the physical labor of the washer women many times in his career pissarro returned to the theme of working people and people themselves tend to be emphasized more in Pizarro's work than that of the other great Impressionists but when this canvas was produced the term impressionism was still unknown so were its major practitioners virtually all of whom had given up submitting Works to the salon Camille pisaro was now in his early 40s and still struggling although Paul Duran Royale did purchase the Crystal Palace and other canvases for small but badly needed sums of money in August 1872 with his family pisaro moved back to the town of pontoirs to the district of limitage where he continued to paint and be exposed to Artistic ideas in 1877 he painted cut the buff emittage a work which shows the influence of a fellow artist and friend who had also moved to the area Paul Cezanne they were working together in 74. and they both did paintings of Red Roofs supports and Cezanne probably learned from Pizarro something about constructing a painting and of course Suzanne went on to make amazingly constructed thought through paintings after that period of working with Bizarro and he referred later in life to Bizarro as the great Pizarro as his master what Pizarro learned from Suzanne was perhaps something about color a certain confidence in approaching the motif on the surface if we looked at a typical Cezanne work for instance and a typical zaro word there doesn't seem to be much connection at all what we've got to look at is a particularly the early period of Suzanne say the house of the hangman writes his am and if we look at Works bypass like foreign we can see quite clearly that the not simply the use of pain because that is very similar thick paint paint which is short that is it does not have a lot of oil in it very opaque there's no transparent washes as we see in latest eventually probably use of the planet knife as well as the brand and the subject matter it is an ordinary house just as Red Roofs as an ordinary Village both of my houses seen through trees so then was already working upon a method of painting it was a few short brush Strokes one way and then a few short bus tracks another way this is some of the pizzaro seemed to take up Pizarro's regard for his friend Cezanne was demonstrated in 1874. that year work by both artists was displayed at a remarkable event it was an independent exhibition of art organized by the artist whose approach would soon become known as Impressions they included Monet Renoir dega and pisaro who contributed manfully to the organization of the event this included his personal insistence that work by Cezanne should be included in the show which opened in Paris in April of 1874. the failure of the exhibition is now a famous moment in the history of Art critics rushed to condemn the works on display including pizarros and sales were minimal but the 1874 event did generate interest even if it was hugely negative but at the very least it gave the new group of artists a name one of the works on display at the show was Monet's Impression Sunrise the critic Louis larois borrowed the title of this Seascape and condemned the whole 1874 event as the exhibition of the Impressionists the name stuck and subsequent exhibitions were advertised as impressionist events in all eight exhibitions took place in Paris between 1874 and 1886 with the critics and public growing ever more appreciative of the work on display of the many great artists who contributed to the exhibitions only pizara was present at them all an impressionist painter with his own unique approach in the 70s his pictures were more structured maybe it was the legacy of corrow but he was interested in composition and volume for example in a way that Monet was not Bonnie's paintings became dominated by the brushstroke whereas pizzaros although the brushstroke was very important they also had a certain tightness about the composition which marks him out from Monet and Renoir in fact so he was a more structural painter at that point in his career in the 1870s visarro's regular contributions to impressionist shows did little to improve his financial well-being an economic recession hung in the air dealers like Paul Durand whale who admired the Impressionists were unable to buy their work by now Camille pesaro was well into his 40s and often depressed their apparent failure of his career in 1873 he executed this self-portrait which perhaps captures something of the seriousness of his life at the time we know that at times his wife begged him to give up painting and get a steady job fortunate that he didn't over the next 30 years he created some of the finest paintings of the impressionist age and success would eventually be his [Music] rural themes continued to feature strongly in his work 1873's the Haystacks pontois shows the artist's ability to capture a fleeting moment in the everyday life of the countryside as in many pizzaro images working people are also included in the scene as we've seen pisaro was always Keen to incorporate men and women into his landscapes a striking example of this was the threshing machine from 1876 a painting whose themes include the nobility of toil and the dubious benefits of the Industrial Age all unified by typically impressionist brush walk by the early 1880s the depiction of rural labor had become the dominant theme in Pizarro's art by that time his fortunes were at last beginning to change the end of the recession meant that Joanne Royale and others were able to buy impressionist paintings once again but around this time Camille pisaro began to move away from some of the main tenets of impressionism significantly he began to astute landscapes in favor of figure painting his subjects were the men and women of France's rural peasant classes time and again he painted young women tending animals in the field a choice of subject matter that had also been made earlier in the century by Jean Francois Miller 's work was seen by many as overtly political and it's possible to see a political message in pasaro's World especially his images of rural labor by the mid-1880s he had become a follower of the radical political philosophy of anarchism with this in mind it's difficult to believe that his many images of laboring peasants were entirely devoid of a political subtext Pizarro was very much socialist he had this idea that work was an honorable activity work where one used one's hands was real work and so his paintings tend to show pictures of scullery Maids people working out in the fields and they do tend to depict people rather more distinctly than somebody like Monet for pesaro it is a specific painting of a person usually doing a particular job so there is a certain sense of his underlying political philosophy coming out through his paintings his philosophy was that he was concerned that we should all be concerned with everybody in a sense everybody is equal and that there are structures which get in the way of that and they need to be dismantled political structures as well as things like aristocracy and and also the economic structure the capitalist system but Anarchist is not something which is necessarily distracted what it was concerned with was what we might call now lettering socialism it disagreed with the Contemporary order of society particularly in its relation to people [Music] in the late 1880s pissarro's radicalism in politics was joined by a similar boldness in his approach to painting if we look at The Gleaners from 1889 we can see this dramatically in subject matter it is typical pisara it depicts the rural tradition of gleaning whereby poor peasants could collect any corn left in the field after harvest in 1857 Malay famously depicted the same subject but pisaro's painting is totally different from Millet it's also easy to see that it differs radically from his own earlier work remarkably in the late 1880s pissarro abandoned impressionism completely the stimulus for this change in technique came directly from the artist George Surat in 1884 at the age of 24 Surat announced himself to the world with his famous large painting the bathers it was a revolutionary canvas drawing on the latest in color theories Surat had pioneered the technique known as divisionism or quantilism this involved the use of individual dots of unmixed paint painstakingly applied to the canvas it was a complex and self-consciously scientific approach to painting as applied by Surat pointillism resulted in Monumental images seemingly Frozen in Time soon after the bathers went on show other artists began to employ his Innovations and surat's approach became widely known as neo-impressionism neo-impressionism in some ways was an extension of impressionism in that it used it was Tiny brush Strokes but it was disciplined to adopt it was interested in color theory which it carried to extremes and the resulting paintings of Surah have a very disciplined Stillness about them which is not something that the Impressionists one would have thought were interested in because what the impressionist wanted to capture was the passing moment whereas Sarah's paintings were constructed in the studio from lots and lots of sketches is true beautiful sketches but then he disciplined himself to such degree that I feel personally there is no spontaneity left in his paintings [Music] Cameo Pizarro's conversion to neo-impressionism was dramatic in 1885 he met Surat and his fellow neo-impressionist Paul Senior the next year Pizarro used his influence to enable Surat and sunyak to exhibit at that Year's impressionist show at exhibited La Grande a painting possibly even greater than the bathers Pizarro also exhibited and his paintings were so similar to surex that critics had to look for the artist's signature on the canvas to tell them apart rarely in the history of art as the work of a great painter being so dramatically influenced by that of a fellow artist the sorrow was always interested in new ideas Surah introduced him to a completely new formal painting which was known as divisionist or Neo impressions what it was essentially was the ideas that had been around in impressions of theory Surah had taken those ideas and systematized in them into a much more scientific way of looking at the world and because pissarro was interested in looking at the material world from in the sense a quasi-scientific viewpoint he reverted to this method of divisionist painting it was only later around about 1886 that he felt that it was a bit of a straight jacket on his own particular ideas from then on he reverted back rather more to his earlier Style Sarah was much younger than Pizarro and Pizarro tended to befriend and support young artists and this he did with Surah Pizarro had already formulated his own color theory about reflection and local color and shadows a small dot fascinated him because he felt it would enable him to more clearly portray the juxtaposition of colors which was then supposed to mix in the onlooker's eye thus retaining a brightness because the color reflected the light foreign the second half of the 1880s saw pisaro fully committed to neo-impressionist technique The Gleaners provides enduring evidence of the artist's remarkable conversion woman in an enclosure painted in 1887 is another Campus of the period executed with the dot technique while this image of a foggy day at IL Lacroix at the Port of rural remains a fine study in atmosphere and light composed using the point at least method but images like this proved unpopular many of Pizarro's fellow artists condemned the sheer speed with which he had adopted the technique pioneered by Surat many admirers of Bizarro have argued that his new impressionist works are simply not in the same category of greatness as those of the younger artist possibly Pizarro realized this himself we do know that by the end of the 1880s he sought to return to the more spontaneous approach of his earlier career by 1890 he had abandoned neo-impressionism forever it was Now 60 years old and growing ever more secure at least financially his impressionist canvases began to sell for good prices and the passaro family were able to buy a large house at Irani a village to the north of the town of Jesus the Art Market was beginning to change exhibitions of single artists began to take place dealers such as Durand Royer grew increasingly powerful and the power of the once Mighty Salon began to diminish increasingly the public and the critics realized the greatness of the impressionist artists Pizarro included [Music] unfortunately for the artist in 1889 he suffered a serious eye infection as a result he was left physically unable to paint out of doors as someone who had believed in open-air painting all his working life it was potentially a disaster but his response was admirable he began to paint scenes from indoors looking out of the windows fine example is this 1897 image of the vegetable garden at his Irani home one of many fine 1890s canvases inspired by his property but the artist often grew restless with Irani prevented from painting Outdoors the frustration he must have felt is easy to imagine as a reaction he began to travel more the 1890s saw Pizarro moving on from place to place primarily painting from hotel rooms like his friend Claude Monet he began to produce series of paintings depicting the same scene at different times of the day and in different climatic conditions the finest of these Works were produced during two Journeys made by Pizarro to the city that it inspired him before a place that would also Inspire Monet to great achievement the city of ruon because primarily concerned as well I can understand it whether it is a bustling industrial Urban Society we see these Works in that conflict and I think we can understand this was the contemporary and the real is anarchist philosophy in the sense that that is what is the reality of Life at his work whether it be the harbor whether it be the industrial buildings that is as I so you're his main concern at Rural and Monet's paintings of things at all Pizarro went and painted the dogs this of course reflects his own political interests and his socialist leanings he wanted to paint workers he wanted to paint real life the Ruan paintings are just part of the great body of work produced by pizzaro during the 1890s the last full decade of his life with every passing year his status and wealth grew but he continued to move on spending as little time as possible at his Iranian home increasingly it was Paris that provided the artist with his inspiration and a painter who had devoted his life to rural open-air painting now turned his hand to cityscapes executed indoors the results were remarkable the Parisian series paintings represent the final stage Pizarro's artistic development and his final Triumph as an artist the poor Nerf provided pissarro with the subject matter for many of his later works this 1902 canvas named after the bridge proves that even in the last full year of his life pissaro was capable of executing a masterpiece the brushwork captures fully the bustle and pace of City Life in the new 20th century but Pizarro's Pawn Nerf series also includes images such as the Paul Nerf Monument to Henry IV Falk which is more a study of the city's atmosphere than the city's people the famous twileries gardens also attracted the attention of Pizarro but of all his Parisian paintings it is those that depict the boulevard momat that remain the most famous in 1897 Pizarro took a room at the hotel de Russi and began to paint images of the thoroughfare below in all he executed 14 campuses of the Boulevard Norman here we see the busy Boulevard in afternoon sunshine there is movement there is life and there is light all executed in the choppy brush Strokes that had outraged established opinion just a quarter of a century before by now images like this and this companion piece showing the Boulevard on a rainy afternoon were better understood by critic and public alike many of them now realized how to appreciate impressionist work to stand back from the canvas and take in the image in its entirety to apprehend the fleeting incident in much the same way as we do in real life there is no point looking for close-up detail in a canvas such as this at London's National Gallery visitors are able to enjoy perhaps the greatest of Pizarro's Boulevard more March paintings this campus depicting the great Street at night it is a Timeless shimmering image a dramatic exploration of the effects of artificial light it's one of the finest paintings not only of the painter's career but of the whole of impressionism a movement to which pesaro had contributed massively Pizarro's contribution right to the end helping painters like Suzanne who doubted their capacity helping painters like Monet for example when he and Monet painted together at La granier he never lost his belief in the movement and when saying the 70s many of the Impressionists were very poor he encouraged them and kept them going and kept them together whilst many has often been referred to as a father of impressionism I think it's a much more apptitled for Zano because in personal terms he supported and encouraged and gave practical advice and help to a whole generations of artists very mixed some who disagreed with him and he was hurt by them but neverthelessly continued to to support I think in that sense we're putting it very simply he was a supporter an influence which which encouraged it and developed and brought together whether it be individuals or whether it be the impressionist exhibition he was I think the only impressionist artist who exhibited each of the impressionist exhibitions he was a constant stabilizing Factor within that which enabled them all the others to Branch off in all sorts of different ways I think a movement like The Impressions needed somebody who was always faithful he was the artist who would never give up who felt that the the ideas that the Impressionists had were sound and should be taken forward so that they would all look to him as a mentor as their teacher at the end of their lives almost all of them said that they owed their life they owed their work to what he he'd done to the way he supported him how he given them encouragement and without that they wouldn't have been able to continue in their own work [Music] of all the great artists of the impressionist age Pizarro is unquestionably one of the greatest by the time of his death in 1903 his art had enabled him to triumph over poverty obscurity and doubt and though his son Lucian went on to become a well-known artist himself it's the work of Camille Pizarro that remains his finest Legacy his rural Landscapes his images of Labor his great series paintings even his neo-impressionist work in Total it remains a mighty achievement a radical artist's response to the ideas and techniques of one of the most remarkable ages in the history of Art thank you [Music]

Channel: Perspective

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Keywords: French Impressionist, French art, French countryside paintings, French culture, French life, Perspective, art exploration, art influence, art showcase, artistic movement, artistic rebellion, contemporary art scene, cultural impact, historical art, historical figures, landscape impressions, painting reflections, painting techniques, radical art, traditional artistry, workers

Id: kx-d34fu_i8

Length: 48min 13sec (2893 seconds)

Published: Tue Jul 11 2023