.jpg?w=1)
拍品專文
Art critic Théodore Duret heralded Pissarro's attention to landscape painting in an important letter to the artist in December 1873:
I persist in thinking that nature, with its rustic fields and its animals is that which corresponds best to your talent. You do not have the decorative feeling of Sisley, not the fantastic eye of Monet, but you do have what they don't, an intimate and profound feeling for
nature, and a power in your brush that makes a good painting by you something with an absolute presence (R. Brettell, Pissarro and
Pontoise: The Painter in a Landscape, New Haven and London, 1990, p. 165).
In 1884 Pissarro moved from Pontoise to Eragny-sur-Epte, a small village near Gisors on the Paris-Dieppe road, where he would remain to the end of his life. Of this creative period Christopher Lloyd has written: 'the rural pictures are mostly devoted to Eragny-sur-Epte, where Pissarro had rented a large house with grounds. With some financial help from Monet, Pissarro was able to buy the house in 1892 and to convert a substantial house in the garden into his studio. The studio overlooked an orchard and beyond that the meadows leading to the neighbouring village of Bazincourt... like Monet at Giverny, Pissarro's examination of the rural spectacles that surrounded him was intense. He luxuriated in the changing temporal conditions and found the fogs, frosts and snow of winter or the vibrant warmth and lush verdure of summer equally rewarding (C. Lloyd, Pissarro, Geneva, 1981, pp. 110 and 112).
Neaufles-Saint-Martin, près de Gisors was first owned by Dr. Georges Viau (1855-1922), a dentist, who like Camondo, Sainsère, Blot, Cochin and Gallimard amassed a great collection at the end of the century. Viau bought this work directly from the artist in 1893. He was a friend and collector of Pissarro, Renoir and Sisley and a patron of the young Vuillard. In the twentieth century Neaufles-Saint-Martin, près de Gisors entered another great collection, that of the renowned collector Gabrielle Oppenheim-Errera. Born in Brussels in 1892, the daughter of a law professor at the University of Brussels and the mayor of one of the city's independent suburbs, Gabrielle Errera moved to Frankfurt in 1912 where she married Dr Paul Oppenheim, a philosopher-scientist. There, in the period preceding World War I, Mrs. Oppenheim-Errera's keen eye and love of art gave birth to a considerable and highly personal collection acquired in the twenty years between the two World Wars.
In 1933, the year of the National Socialist's rise to power in Germany, Mrs. Oppenheim-Errera and her husband left Germany with their collection to Brussels. In 1939, as the threat of occupation loomed, the Oppenheims placed the best of their collection in bank vaults under the names of trusted friends. After the upheavals of the war the collection was recovered from Belgium and installed in the Oppenheims' new home at 57 Princeton Avenue, New Jersey. The collection remained at the Oppenheim home until 1991 when it was loaned to the Art Museum at Princeton University, where it remained until shortly after Mrs Oppenheim-Errera's death in August 1997. Neaufles-Saint-Martin, près de Gisors was included in the celebrated group of paintings sold by the Oppenheim family in New York in 1997.
I persist in thinking that nature, with its rustic fields and its animals is that which corresponds best to your talent. You do not have the decorative feeling of Sisley, not the fantastic eye of Monet, but you do have what they don't, an intimate and profound feeling for
nature, and a power in your brush that makes a good painting by you something with an absolute presence (R. Brettell, Pissarro and
Pontoise: The Painter in a Landscape, New Haven and London, 1990, p. 165).
In 1884 Pissarro moved from Pontoise to Eragny-sur-Epte, a small village near Gisors on the Paris-Dieppe road, where he would remain to the end of his life. Of this creative period Christopher Lloyd has written: 'the rural pictures are mostly devoted to Eragny-sur-Epte, where Pissarro had rented a large house with grounds. With some financial help from Monet, Pissarro was able to buy the house in 1892 and to convert a substantial house in the garden into his studio. The studio overlooked an orchard and beyond that the meadows leading to the neighbouring village of Bazincourt... like Monet at Giverny, Pissarro's examination of the rural spectacles that surrounded him was intense. He luxuriated in the changing temporal conditions and found the fogs, frosts and snow of winter or the vibrant warmth and lush verdure of summer equally rewarding (C. Lloyd, Pissarro, Geneva, 1981, pp. 110 and 112).
Neaufles-Saint-Martin, près de Gisors was first owned by Dr. Georges Viau (1855-1922), a dentist, who like Camondo, Sainsère, Blot, Cochin and Gallimard amassed a great collection at the end of the century. Viau bought this work directly from the artist in 1893. He was a friend and collector of Pissarro, Renoir and Sisley and a patron of the young Vuillard. In the twentieth century Neaufles-Saint-Martin, près de Gisors entered another great collection, that of the renowned collector Gabrielle Oppenheim-Errera. Born in Brussels in 1892, the daughter of a law professor at the University of Brussels and the mayor of one of the city's independent suburbs, Gabrielle Errera moved to Frankfurt in 1912 where she married Dr Paul Oppenheim, a philosopher-scientist. There, in the period preceding World War I, Mrs. Oppenheim-Errera's keen eye and love of art gave birth to a considerable and highly personal collection acquired in the twenty years between the two World Wars.
In 1933, the year of the National Socialist's rise to power in Germany, Mrs. Oppenheim-Errera and her husband left Germany with their collection to Brussels. In 1939, as the threat of occupation loomed, the Oppenheims placed the best of their collection in bank vaults under the names of trusted friends. After the upheavals of the war the collection was recovered from Belgium and installed in the Oppenheims' new home at 57 Princeton Avenue, New Jersey. The collection remained at the Oppenheim home until 1991 when it was loaned to the Art Museum at Princeton University, where it remained until shortly after Mrs Oppenheim-Errera's death in August 1997. Neaufles-Saint-Martin, près de Gisors was included in the celebrated group of paintings sold by the Oppenheim family in New York in 1997.