Camille Pissarro, Petite Bonne Flamande (Good Little Flemish Girl), c. 1900

Original Camille Pissarro Good Little Flemish Girl for sale

Signed Camille Pissarro Lithograph, Petite Bonne Flamande (Good Little Flemish Girl), c. 1900

Artist:Camille Pissarro (1830 - 1903)

Title:Petite Bonne Flamande (Good Little Flemish Girl), c. 1900

Medium:Color lithograph printed in dark reddish brown on chine appliqué

Image Size:8 1/4 in x 8 in (21 cm x 20.3 cm)

Edition:From an edition of 25 hand-signed proofs by both Camille Pissarro (Charlotte Amalie, 1830 – Paris, 1903) and engraver G.W. Thornley.

Signature:This work is hand signed by Camille Pissarro (Charlotte Amalie, 1830 – Paris, 1903) in pencil in the lower left margin; also hand-signed by engraver G.W. Thornley in pencil in the lower right margin.

Condition:This work is in excellent condition.

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Historical Description of this artwork

Camille Pissarro Petite Bonne Flamande (Good Little Flemish Girl), c. 1900 is a starkly honest depiction of domestic life. The young girl sits quietly in a chair before an open doorway through which we see furniture in another room. She looks tacitly in front of her – but she is facing to the right side of the canvas, away from perspective of the painter and viewer. While there is clearly a backstory implied by her surroudings, this lithograph is primarily a figural study. Pissarro, one of the most important Impressionist and Neo-Impressionists, works masterfully with the light in his artworks. Here, it is soft, illuminating the face of the girl, and also casting natural shadows from furniture. Pissarro has also used light and shadow to define the folds of the girls dress, creating true-to-life creases in the fabric.

Created c. 1900 after an original oil painting Petite Bonne Flamande dite ‘La Rose’ created in 1896, this color lithograph printed in dark reddish brown on chine appliqué is hand-signed by Camille Pissarro (Charlotte Amalie, 1830 – Paris, 1903) in pencil in the lower left margin; also hand-signed by engraver G.W. Thornley in pencil in the lower right margin. From an edition of 25 hand-signed proofs by both Camille Pissarro (Charlotte Amalie, 1830 – Paris, 1903) and engraver G.W. Thornley; printed by Becquet, Paris and published by Boussod-Valadon, Paris.

Catalogue Raisonné & COA:

Camille Pissarro Lithograph Good Little Flemish Girl (Petite Bonne Flamande), c. 1900 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).

1. A Certificate of Authenticity will accompany this artwork.

About the Framing:

Framed to museum-grade, conservation standards, Camille Pissarro Good Little Flemish Girl (Petite Bonne Flamande), c. 1900 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.

What Do I Get With My Purchase?

The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.

All catalogue raisonné and historical documentation is included with your purchase.

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Camille Pissarro art for sale
Camille Pissarro (1830-1903)

Camille Pissarro Biography

Camille Pissarro was born July 10th, 1830 in Charlotte-Amalie on the island of St. Thomas, then a part of the Danish West Indies. Pissarro was sent away to boarding school in Paris at age 12 from 1842-1847. It was there were he augmented his school education by visiting museums, and was first introduced to the French masters. Pissarro returned to St. Thomas after he finished his schooling and joined his father’s business. While he was living in St. Thomas, Pissarro befriended Danish artist Fritz Melbye, who encouraged Pissarro to pursue his art. The two left St. Thomas together in 1852 and moved to Caracas, Venezuela for a few years. In 1855 Pissarro returned to Paris with the support of his family to start his formal art training. Upon his arrival, Pissarro also attended the World Fair in Paris and saw the work of Jean-Baptiste-Camille Corot. Pissarro was greatly influenced by his work, and studied directly under him as well as with Gustave Courbet and Charles-Francois Daubigny. Elements of their work can be seen in Pissarro’s early oeuvre.

Pissarro never ended up pursuing a more formal art education, but instead frequented Académie Suisse, an art school started by Charles Suisse where models were provided for the students to study. It was here that Pissarro met some of his contemporaries, Claude Monet, Armand Guillaumin, and Paul Cézanne. The group was brought together by their shared artistic visions.

Like many artists at the time, Pissarro lived outside of Paris proper in the country. He moved in with Julie Valley who would in 1871 become his wife and the mother of his 8 children. They were living in Louveciennes when the Franco-Prussian War began in 1870. Pissarro and his family fled to London, where they lived for a few years. Some fantastic paintings were created during this time that explore the growth of the urban in villages around London. When they returned after the end of the war, Pissarro discovered that much of his early oeuvre had been destroyed.

Pissarro began working alongside Cézanne, Degas, Renoir, and Monet. It was around this time in 1873 that Pissarro was involved in the establishment of a collective, Société anonyme des artistes, which allowed for public exhibitions of artists that were at the time not being accepted into the Salon. The first exhibition in 1874 was greeted with relative success, and helped to cement the Impressionist movement.

In his later years Pissarro embraced the printmaking medium, and joined the Society Painter-Printmakers, started by Félix Bracquemond and Henri-Charles Guérard in 1889. The goal of this society was to increase the validity of a print by displaying it alongside works of originality by the artist. Later in 1894, Pissarro also had some of his prints published in L’Estampe originale.

Pissarro died in Paris in 1903 being hailed as the “Father of Impressionism.” Although he is not the most prolific of the impressionists, he had the most influence in the development of style and technique. He was survived by his son, Lucien Pissarro, a celebrated painter and printmaker.

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