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拍品专文
Pissarro had moved to Eragny, a small village in Normandy near Gisors in 1884. The countryside surrounding Eragny, devoid of modernised farming and industrial imagery, provided the artist with the perfect setting in which to pursue one of his favourite subjects: the depiction of rural life.
The paintings dating from the last decade of Pissarro's life mark a return to the impressionist idiom. Having experimented with the rigorous technique and colour theories of the Pointillists, he returned to the more blended brushwork and receding perspectives of his earlier period. The rural paintings dating from the 1890s retain a luminosity of texture that is derived from the close working of the surfaces of his neo-impressionist paintings.
As reflected in the present painting, Pissarro was fascinated by the intimate details of rural life, familiar with the exact appearances of things and people in the countryside. John Rewald decribed Pissarro's fascination: "Rather than glorifying the rugged existence of the peasants, he placed them without any pose in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life" (J. Rewald, C. Pissarro, New York, 1963, p. 20).
The paintings dating from the last decade of Pissarro's life mark a return to the impressionist idiom. Having experimented with the rigorous technique and colour theories of the Pointillists, he returned to the more blended brushwork and receding perspectives of his earlier period. The rural paintings dating from the 1890s retain a luminosity of texture that is derived from the close working of the surfaces of his neo-impressionist paintings.
As reflected in the present painting, Pissarro was fascinated by the intimate details of rural life, familiar with the exact appearances of things and people in the countryside. John Rewald decribed Pissarro's fascination: "Rather than glorifying the rugged existence of the peasants, he placed them without any pose in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life" (J. Rewald, C. Pissarro, New York, 1963, p. 20).