International studio . by some subtle personalquality of its own. In colour it was stillsomewhat brown, but there was also aluminous pearly quality, particularly in theskies, and the greys were becoming moredelicate and varied. 000 He came over to London, and lived at Sydenham. In the meantime the Prus-sians occupied his house and charac-teristically destroyed all his pictures, sothat his early work, up to that period, isvery scarce. He painted several picturesin the neighbourhood of Sydenham—thepainting. Lower Norwood, reproduced here,belongs to that period—and during his stayin London, both
International studio . by some subtle personalquality of its own. In colour it was stillsomewhat brown, but there was also aluminous pearly quality, particularly in theskies, and the greys were becoming moredelicate and varied. 000 He came over to London, and lived at Sydenham. In the meantime the Prus-sians occupied his house and charac-teristically destroyed all his pictures, sothat his early work, up to that period, isvery scarce. He painted several picturesin the neighbourhood of Sydenham—thepainting. Lower Norwood, reproduced here,belongs to that period—and during his stayin London, both he and Claude Monetwere invited to exhibit at the RoyalAcademy. There is no record of theirhaving done so. This hospitality wasextended to them as distinguished strangerswhile the Academy was treating the inde-pendent artists of England in precisely thesame manner as Monet and Pissarro werebeing treated in Paris. Year after year,the Salon refused to exhibit their work, andwith the other Impressionist painters they. PORTAIL DE ST. JACQUES,DIEPPE. BY CAMILLEPISSARRO CAMILLE PISSARRO decided to form a group and hold their ownexhibitions (1874-1886), the first of whichwas held in a well-situated empty fiat, aOn his return to France, Pissarro hadtaken up his abode at Pontoise (1872-1882),where he painted the simple life of thecountryside with increasing luminosity ofcolour. In 1883 h^ settled at Eragny, avillage not many miles from Gisors, on acharming trout-stream, the Epte. Here hedevoted himself to painting the wonderfulseries of pictures of rural life, which in-cludes some of his finest work. At Eragnyhis art reached its highest he found subjects which werepeculiarly congenial to him. He was pre-eminently the painter of the life of thepeasant; he had great sympathy with thesimple lives of the workers of the soil. Hehad no need, like Millet, to make themheroic or tragic figures ; it was sufficient for him that they were human beingsliving under conditions in
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