Camille Pissarro

Galerie Vallotton, Lausanne
Acquired by the family of the present owner in the 1940s

 

Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Milan, 2005, vol. II, no. 132, illustrated p. 124

The panel is sound. There is a 3cm. sq. area of retouching to the left of centre, 2 nailhead-sized strokes of retouching towards the right edge, a 7cm. by 4 cm. area of retouching to the centre of the sky and several lines of retouching above the horizon to the left of centre. All retouching is visible under UV light. Overall this work is in fairly good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

COMP: 434D07008_COMP
Fig. 1, Alfred Sisley, The Machine at Marly, 1873, oil on canvas, Ny Carlsberg Glyptotek, Copenhagen

Pissarro arrived in Louveciennes in the spring of 1869, and over the next few years produced over 70 canvases of the village and its immediate surroundings. The village was to prove an early centre for the Impressionist movement, and Sisley, Monet, Renoir and Pissarro all painted its environs. Situated 17 kilometres outside Paris, Marly offered numerous picturesque spots which allowed Pissarro to investigate the effects of light on landscape and develop his own distinctive technique.

The subject of this work is the 'Machine de Marly', the hydraulic works initially built by Louis XIV in 1681 to bring water from the Seine to the ornamental gardens of Marly and Versailles. At one time referred to as 'the eighth wonder of world', the Machine was a prominent local landmark, and became a common subject for the Impressionists, most often used by Sisley (Fig. 1). In this atmospheric work, Pissarro captures the evening light as the shadows lengthen around the two figures trudging home in the foreground. The small brushstrokes and textured paintwork of the foreground represent early examples of the techniques that Pissarro was to develop in his mature work.