- 42
卡米耶·畢沙羅
描述
- Camille Pissarro
- 《提塞維爾鄉郊,乾草堆、牧人與羊群》
- 款識:他人題跋 C. Pissarro 並紀年97(左下)
- 油彩畫布
- 28 7/8 x 36 1/4 英寸
- 65.8 x 92.2 公分
來源
Georges Manzana-Pissarro (by descent from the above in 1921)
Galeries Georges Petit, Paris
Christian-Otto Zieseniss (probably acquired from the above on 29th July 1922)
出版
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
At the time he painted this work in the late 1890s, Pissarro's professional afflilation and cooperation with the members of the original group of Impressionist painters had ended. This is not to say, however, that the activity of his former collaborators had not caught his attention. Pissarro had seen Monet's haystack series in the early 1890s and had been struck by the calming visual impact these forms had upon him when he saw them in the flesh. It can be assumed that Pissarro was mindful of Monet's achievement when he painted the present composition. The haystacks also enhance the undulating appearance of Pissarro's landscape, and the soothing experience of looking at this visual rhythm and flow calls to mind Pissarro's observations about his colleague's earlier pictures.
This painting belonged to the artist's wife Julie and was kept in the Pissarro family until it was sold to the family of the present owner in the 1920's. The scene depicted here is only one of two views of Thierceville that Pissarro ever completed, and it was most liked painted upon his return from a visit to Lucian in London in 1897.