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End of the Village, Dardennes

End of the Village, Dardennes
signed with monogram and dated '1931' (lower left)
oil on canvas
18 1⁄2 x 22 in. (47 x 55.9 cm.)
Painted in 1931.
Acquired directly from the artist by the present owner's grandfather, and by descent.
A. Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, London, 1983, pp. 208-209, no. 484, illustrated.
London, New England Arts Club, November - December 1931, no.97, catalogue not traced.
London, Leicester Galleries, Paintings and Drawings by Lucien Pissarro, November 1934, no. 38.
Manchester, Art Exhibitions Bureau tour, City Art Gallery, Paintings and Drawings by Lucien Pissarro, June - July 1935, no. 92; this exhibition travelled to Birkenhead, Williamson Art Gallery, July - August 1935, no. 61; Blackpool, Grundy Art Gallery, October 1935, no. 61; Lincoln, Usher Art Gallery, November - December 1935, no. 61; Burton on Trent, County Borough Museum and Art Gallery, February 1936, no. 61; Belfast, City Museum and Art Gallery, May - June 1936, no. 52; Rochdale, Corporation Art Gallery, June - July 1936, no. 52; and Gateshead, Shipley Art Gallery, August 1936, no. 52.
Glasgow, McLellan Galleries, Festival of Jewish Art, February 1951, no. 105.
London, Whitechapel Art Gallery, Jewish Artists in England 1656-1956, November - December 1956, no. 105.
London, Anthony d'Offay, Lucien Pissarro: Paintings, July - August 1983, no. 37.

Brought to you by

Alice Murray
Alice Murray Associate Director, Specialist

Lot Essay

End of the Village, Dardennes has remained with the same family since it was acquired directly from the artist. To see it now is revelatory as a wonderful example of Pissarro’s Provence paintings. The village of Dardennes lay close to Campagne Orovida, Pissarro’s house in Provence, which he had bought early in 1929 and named after his daughter, Orovida Camille Pissarro. The region plays a very notable part in Pissarro’s work, and his frequent visits throughout the 1920s and 1930s brought wonderfully observed pictures inflected with the brilliant light and heat of the south of France.

Diffused with a soft, warm light, End of the Village, Dardennes is exquisitely painted, with dancing, light brushwork and subtle colouring. Painted in April 1931, the scene looks down between the trees to glimpsed rooftops, while vineyards rise up on the opposite hillside. The horizon is out of view and the composition appears informal, placing the viewer within the landscape. Across the picture plane colours gently oscillate between tones of red and green, as the scene travels from grassy banks to a worn path, terracotta rooftops and trees, sun-baked ground and hedgerows. Pissarro’s handling of composition and colour is highly sophisticated, perhaps aware of new developments in painting in London and Paris while remaining true to the principles of impressionism. It is a quietly dazzling scene that rewards close inspection.

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