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拍品专文
Jeanne au jardin follows the great tradition of Impressionist 'plein-air' paintings of the 1870s. The work is one of five delicate studies painted in 1872 of the artist's favourite daughter Jeanne-Rachel, who died only two years later on 6 April 1874, from a respiratory infection. Most canvases have now entered museum collections, including the artist's poignant masterpiece, Portrait de Jeanne (fig. 2), formerly in the Whitney collection and now in the Yale University Art Gallery, in which Pissarro portrays a delicate pretty child with large timid eyes.
The years between 1872 and 1874 were amongst the most successful in Pissarro's artistic career. In the words of Christopher Lloyd, 'the chief glory of Pissarro's paintings of the period between the birth of Impressionism and the first Impressionist exhibition is that style and content are perfectly blended. It is, indeed, the moment in Pissarro's working life that most people relish...' (C.Lloyd, Pissarro, Geneva, 1981, p. 43).
Together, with Monet, Renoir and Sisley, Pissarro shared the desire to transcribe in his art momentary sensations and a vision of nature where light and atmosphere dominate the canvas. The debt to Monet in particular, however, is perhaps the most explicit in Jeanne au jardin. The influence of the young artist is dominant in regards to colour, brushwork and the greater concern for the role of the human figure within the composition. Pissarro's palette is brighter and the light sharper and the entire work almost seems a homage to Monet's earlier masterpiece, Femme au jardin (W.67) in the Muse d'Orsay, Paris. And indeed, in a letter of May 1873 to Thodore Duret, Pissarro writes of his abiding admiration for Monet's work: 'Ne craignez vous pas de vous mprendre sur le talent de Monet, selon moi trs srieux, trs pur il est vrai, un autre point de vue que le sentiment qui vous pousse; mais c'est un art trs tudi, bas sur l'observation, et d'un sentiment tout nouveau, c'est la posie par l'harmonie des couleurs vraies, Monet est un adorateur de la nature vraie' (Correspondance de Camille Pissarro, vol. I, Paris, 1988, p. 79).
The years between 1872 and 1874 were amongst the most successful in Pissarro's artistic career. In the words of Christopher Lloyd, 'the chief glory of Pissarro's paintings of the period between the birth of Impressionism and the first Impressionist exhibition is that style and content are perfectly blended. It is, indeed, the moment in Pissarro's working life that most people relish...' (C.Lloyd, Pissarro, Geneva, 1981, p. 43).
Together, with Monet, Renoir and Sisley, Pissarro shared the desire to transcribe in his art momentary sensations and a vision of nature where light and atmosphere dominate the canvas. The debt to Monet in particular, however, is perhaps the most explicit in Jeanne au jardin. The influence of the young artist is dominant in regards to colour, brushwork and the greater concern for the role of the human figure within the composition. Pissarro's palette is brighter and the light sharper and the entire work almost seems a homage to Monet's earlier masterpiece, Femme au jardin (W.67) in the Muse d'Orsay, Paris. And indeed, in a letter of May 1873 to Thodore Duret, Pissarro writes of his abiding admiration for Monet's work: 'Ne craignez vous pas de vous mprendre sur le talent de Monet, selon moi trs srieux, trs pur il est vrai, un autre point de vue que le sentiment qui vous pousse; mais c'est un art trs tudi, bas sur l'observation, et d'un sentiment tout nouveau, c'est la posie par l'harmonie des couleurs vraies, Monet est un adorateur de la nature vraie' (Correspondance de Camille Pissarro, vol. I, Paris, 1988, p. 79).