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Camille Pissarro (1830-1903)
Camille Pissarro (1830-1903)

Dulwich College, Londres

Details
Camille Pissarro (1830-1903)
Dulwich College, Londres
stamped with initials 'C.P.' (Lugt 613a) (lower right)
oil on canvas
19 x 23.5/8 in. (50.1 x 60 cm.)
Painted in 1871
Provenance
F. Javal, Paris.
J. Jessel, Paris. David McAdam Eccles, London.
P. & D. Colnaghi & Co., Ltd., London.
John A. MacAulay, Winnipeg.
Literature
L. R. Pissarro and L. Venturi, Camille Pissarro - Son Art, Son Oeuvre, vol. I, Paris, 1939, no. 116 (illustrated vol. II, pl. 23).
Journal de l'Impressionnisme, Geneva, 1970, p. 99 (illustrated in colour).
P. Pool, Impressionism, New York, 1974, no. 77, p. 103 (illustrated in colour).
R. E. Shikes and P. Harper, Pissarro, His Life and Work, New York, 1980, p. 99 (illustrated in colour).
C. Lloyd, Camille Pissarro, London, 1981 (illustrated p. 51).
J. R. Piggott, Dulwich College, A Brief History and Guide to the Buildings, London, 1990, p. 38.
J. Pissarro, Camille Pissarro, London, 1993, no. 87 (illustrated 85).
N. Reed, Camille Pissarro at Crystal Palace, London, 1993, p. 41 (illustrated in colour).
J. Leymarie, 'Camille Pissarro', in exh. cat., Ferrara, Palazzo dei Diamanti, Feb.-May 1998, p. 28 (illustrated).
Exhibited
London, Alex Reid & Lefvre, Renoir, Czanne and their Contemporaries, June 1934, no. 24.
London, New Burlington Galleries, Masters of French 19th Century Painting, October 1936, no. 57.
Ottawa, The National Gallery of Canada, Paintings from the Collection of John A. McAulay, March-June 1954, no. 16; this exhibition later travelled to the Art Gallery of Ontario, Toronto.
Santa Barbara, Santa Barbara Museum of Art, Impressionist and Post-Impressionist Paintings from a Private Collection, July-Aug. 1978, no. 9.
Isetan, Museum of Art, Rtrospective Camille Pissarro, March-July 1984, no. 15 (illustrated in colour); this exhibition later travelled to the Art Museum, Fukuoka, and the Municipal Museum of Art, Kyoto.
Paris, Galerie Schmit, De Corot Picasso, May-July 1985, no. 39 (illustrated in the catalogue).
Paris, Grand Palais, XXXme Biennale des Antiquaires, Sept.-Oct. 1986, no. 24 (from the brochure edited by the Galerie Schmit).
Paris, Galerie Schmit, 25ans d'expositions: Matres Franais XIXme-XXme sicles, May-July 1990, no. 52.
Sale room notice
Please note that this painting has been requested by The National Gallery of London for a major travelling exhibition entitled "Impression: Painting Quickly in France, 1860-1890" which begins in London on 1 November 2000 and will also travel to the Van Gogh Museum in Amsterdam and the Clark Art Institute in Williamstown, Massachusetts.

Lot Essay

Dulwich College, Londres is one of the last of twelve paintings inspired by Camille Pissarro's visit to England during the Franco-Prussian war to still remain in a private collection. Painted in 1871, it represents one of London's historical and architectural landmarks, and reflects the stylistic and artistic changes brought about by the close friendship between Claude Monet and Camille Pissarro.

In July 1870, with the outbreak of the Franco-Prussian war, Camille Pissarro fled his home in the tranquil town of Louveciennes, near Paris. After taking refuge at Ludovic Piette's farm in Brittany, the failure of the French troops at Sedan, and the declaration of the Third Republic on 4 September 1870, drove Pissarro and his family to cross the Channel to England. Upon their arrival in the autumn of that year they settled in a small apartment in South London, located at 2 Chatham Terrace, Palace Road, in Upper Norwood.

In 1870, Norwood, Dulwich and Sydenham were developing rapidly following the opening of the Crystal Palace on Sydenham Hill by Queen Victoria in 1854 and the growth of the South London railway system. The new buildings of Dulwich College, represented in the present work by Pissarro, opened in 1870 and were part of the important developments undertaken in the South London area.

With Monet, who had also taken refuge in England during the war, Pissarro visited the city's landmarks, museums and galleries, observing the art and architecture of the great English masters they both admired. Discussing their friendship and shared interests, Pissarro told the British painter, Wynford Dewhurst: 'Monet worked in the parks, whilst I, living at Lower Norwood, at that time a charming suburb, studied the effects of mist, snow and springtime' (W. Dewhurst, Impressionist Painting, Its Genesis and Development, London, 1904, pp. 31-32). Czanne admired the works of these years to such a degree he once said: 'Pissarro had continued to paint as he did in the 1870s, he would have been the master of us all' (N. Reed, Camille Pissarro at Crystal Palace, London, 1993, p. 2).

We are grateful to Dr. J. R. Piggott of Dulwich College for his assistance in preparing this catalogue entry.
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