The Impressionist Vision

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