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拍品专文
In the present work, Pissarro lovingly captures the youthful expression and rosy cheeks of his third son, Georges, in this highly worked and accomplished portrait, radiant with rich tones of deep green and blue pigments. Georges studied with his father from an early age, spending his formative years surrounded by the prominent artists such as Claude Monet, Paul Cézanne, and Paul Gauguin, who frequented Pissarro’s home in Éragny. An archival image of the present work suggests that the composition was revisited at a later date, most probably by the artist’s son, Georges, offering a rare testament to the close artistic dialogue that existed between father and son.
Richard Bretell observes of Pissarro as teacher and father: 'he urged them to open themselves up to the world of art and art criticism. He organized their visits to museums and galleries. He involved himself in their moral and intellectual education. He introduced them to more artists of their generation than they could possibly have met on their own...Making art must have been as natural an activity in the Pissarro household as reading, eating or talking, and each of his sons took it up without the struggles for self-definition and without the professional traumas their father had experienced in his youth. Perhaps for that reason they each developed as the 'followers' of Pissarro in ways that their father never allowed Cézanne, Cassatt, Gauguin or Seurat to follow' (Camille Pissarro and His Descendants, exh. cat., Fort Lauderdale Museum of Art, 2000, p. 25).
Richard Bretell observes of Pissarro as teacher and father: 'he urged them to open themselves up to the world of art and art criticism. He organized their visits to museums and galleries. He involved himself in their moral and intellectual education. He introduced them to more artists of their generation than they could possibly have met on their own...Making art must have been as natural an activity in the Pissarro household as reading, eating or talking, and each of his sons took it up without the struggles for self-definition and without the professional traumas their father had experienced in his youth. Perhaps for that reason they each developed as the 'followers' of Pissarro in ways that their father never allowed Cézanne, Cassatt, Gauguin or Seurat to follow' (Camille Pissarro and His Descendants, exh. cat., Fort Lauderdale Museum of Art, 2000, p. 25).