Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . ted himself to landscape and decorative painting. Pissarro, the painter of the countryside, did not ignore themen and women who live and labour on the soil. Peasants,working at their various tasks, enter largely into his pictures:1874, Femme gardant une vache; 1878, La Lessive; 1881, LeBerger; 1886, La cueillette des pommes; 1892, La Causette;1894, La cueillette des pois a Eragny. Besides his paintings in oil,he executed a number of drawings in body-colour; and while, inhis landsc
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . ted himself to landscape and decorative painting. Pissarro, the painter of the countryside, did not ignore themen and women who live and labour on the soil. Peasants,working at their various tasks, enter largely into his pictures:1874, Femme gardant une vache; 1878, La Lessive; 1881, LeBerger; 1886, La cueillette des pommes; 1892, La Causette;1894, La cueillette des pois a Eragny. Besides his paintings in oil,he executed a number of drawings in body-colour; and while, inhis landscapes, figures occur only incidentally, his body-colour draw-ings are composed almost exclusively of peasants, either singly orin groups. For a proper knowledge of Pissarro as a painter of rurallife, it is necessary, therefore, to study his drawings in body-colour. AVhen at first he began to paint peasants, he was accused ofimitating Millet. At this period Millet was scarcely understood;he was violently attacked for the naturalistic character of hiswork; and Pissarro, by the sole fact that he also had begun to. BERGERE PISSARRO PISSARRO 133 paint peasants from life, appeared to be merely a servile now, when it is possible to consider the work of the twoartists from a distance, it is difficult to understand how Pissarro,even before the original character of his work was fully developed,should have been accused of imitation, and how his works shouldhave appeared identical with those of his predecessor. Milletappeared at a time when classical and romantic forms occupiedthe field of art almost exclusively. Consequently he encounteredthe bitterest opposition. He had come to closer grips with naturethan anybody had yet done, and that was enough to ensure therepudiation of his work. But Pissarro stands to Millet in thesame relation in which Millet stood to the classicists and roman-ticists. His deviation from conventional methods was whollydifferent from that of Millet; a
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
