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Rue de l'Épicerie, Rouen (Effect of Sunlight), 1898, Camille Pissarro, French. Historical artwork in public domain. By the time of Pissarro’s fourth visit to Rouen in 1898, he was "already familiar with the motifs there." The artist depicted many of the same cityscapes that he had tackled previously, but also scouted out new scenes, such as this one. On August 19, he wrote to his son Lucien: "Yesterday I found an excellent place from which I can paint the rue de l'Épicerie and even the market, a really interesting one, which takes place every Friday." Pissarro painted the view three times, but the Metropolitan's picture is the only one that shows the market in progress. Title: Rue de l'Épicerie, Rouen (Effect of Sunlight) Artist: Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris) Date: 1898 Medium: Oil on canvas In a letter to his son Lucien of August 19, 1898, Pissarro wrote that he had found an excellent place from where he could paint the Rue de l'Épicerie and the market that took place there on Fridays. He painted three pictures of this view (Pissarro and Venturi nos. 1036–38); however, the MMA work (PV no. 1036) is the only one that depicts the market on Friday. A version of this composition (PV no. 1038) was sold at Sotheby's, London, April 4, 1989, no. 14. References on the original Camille Pissarro. Letter to Lucien Pissarro. August 19, 1898 [published and translated in John Rewald, ed., "Camille Pissarro Letters to His Son Lucien," London, 1980, p. 329], writes from Rouen, remarking that he discovered "an excellent place, where I hope to paint the rue de l'Épicerie and even the market, a really interesting one which is held there every Friday". Camille Mauclair. The Great French Painters. New York, [1903], ill. p. 27. Curiosa. "Jeudi 6 Novembre." Le Figaro artistique no. 49 (1924), p. 93, ill., calls it the most important picture in the Leclanché sale; notes that the starting price was Fr 40,000, but that it was hotly contested between M. Lehoucq and M. Savard, the latter buying it for Fr 83,000. Ludovic Rodo Pissarro and Lionello Venturi. Camille Pissarro, son art—son œuvre. reprint ed. 1989. Paris, 1939, vol. 1, pp. 65, 225, no. 1036; vol. 2, pl. 208, no. 1036. De Géricault à Matisse: Chefs-d'oeuvre français des collections suisses. Exh. cat., Petit Palais. Paris, 1959, unpaginated, no. 110, pl. 23. John Rewald. The History of Impressionism. rev., enl. ed. New York, 1961, p. 570, ill., compares it with a photograph of the site, which was destroyed during World War II. Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 21–22, ill., note that Pissarro made three paintings of this site (PV 1036–38), but only the MMA painting records the activities on Friday, market day; remark that in it the buildings in the foreground "are treated with many broad, simple areas of color, in contrast to the background, where the richly varied architecture of the cathedral towers is handled with a rough and scintillant impressionistic technique". John Rewald. "The Impressionist Brush." Metropolitan Museum of Art Bulletin 32, no. 3 (1973/1974), p. 54, no. 28, ill. (overall and color details). Christopher Lloyd and Anne Distel in Pissarro. Exh. cat., Hayward Gallery. London, 1980, pp. 143–44, 215, no. 81, ill., comment that it is notable "for the compression of a variety of architectural forms, which link the upper and lower halves of the composition together". Christopher Lloyd. Camille Pissarro. New York, 1981, pp. 128–29, 132, 147, ill. (color), believes that it is the only view of Rouen painted by Pissarro during the 1890s that updated an established topographical tradition; remarks that it evokes the contemporary life of the city as opposed to its history. Anne Schirrmeister. Camille Pissarro. New York, 1982, p. 16, colorpl. 16. Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 100–101, ill. (color, overall and detail). Christopher Lloyd. "Camille Pissarro and Rouen." Studies on Camille Pissarro. Ed. Christopher Lloyd. London, 1986, p. 86, pl. 45. Joachim Pissarro. Camille Pissarro. New York, 1993, p. 260, fig. 302 (color). Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, p. 170. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 441, ill. Christoph Becker. Camille Pissarro. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 1999, pp. 122, 128–29, 195, no. 63, ill. (color). Terence Maloon in Camille Pissarro. Exh. cat., Art Gallery of New South Wales. Sydney, 2005, pp. 29, 185, 254, no. 89, colorpl. 89, fig. 10 (color), remarks that it is prophetic of Picasso and Braque's Cubism. Claire Durand-Ruel Snollaerts in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 375, 391–92, 396–97, 399, 401–2, 406, 422, 428; vol. 3, pp. 763–65, 955, 958, no. 1221, ill. (color). Alexia de Buffévent in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, p. 302. Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 75, 247, no. 51, ill. (color and black and white). Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 89, 292, no. 83, ill. (color and black and white). Marie-Claude Coudert in A City for Impressionism: Monet, Pissarro, and Gauguin in Rouen. Ed. Laurent Salomé. Exh. cat., Musée des Beaux-Arts de Rouen. Paris, 2010, p. 308, no. 87, ill. p. 314 (color). Claire Durand-Ruel Snollaerts in A City for Impressionism: Monet, Pissarro, and Gauguin in Rouen. Ed. Laurent Salomé. Exh. cat., Musée des Beaux-Arts de Rouen. Paris, 2010, p. 75. Claire Maingon in A City for Impressionism: Monet, Pissarro, and Gauguin in Rouen. Ed. Laurent Salomé. Exh. cat., Musée des Beaux-Arts de Rouen. Paris, 2010, p. 181. Designed for indoor use, custom stretched canvas prints are made from treated cotton - providing the smoothest of matte surfaces for exceptional design vividity. A combination of quality and durability, these hangings come with a lifelong color guarantee; there's significant confidence in their withstanding the test of time. On the backside, pre-installed hanging hardware ensures proper locking to walls. .: 100% cotton fabric .: Wooden frame .: High image quality and detail .: For indoor use #styleathome #homedecor #paintingsforhome #classicalart
