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CAMILLE PISSARRO (1830-1903)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
<div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div> <div>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </div><br><br><div> </div><br><br><div>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </div><br><br><div> </div><br><br><div>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </div><br><br><div> </div><br><br><div>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </div>
Die Briqueterie Delafolie in Éragny188418 1/4 x 21 7/8 Zoll.(46,36 x 55,56 cm) Öl auf Leinwand
Provenienz
Durand-Ruel, Paris, vom Künstler erworben, 1892
Werner Herold, Zürich, 1917 von dem oben Genannten erworben
Von da an durch Erbfolge bis 1991
Montgomery Gallery, San Francisco (in Kommission)
Hirschl & Adler Galerien, New York
Privatsammlung, New York, 1994
Lord und Lady Ridley Tree, Santa Barbara, Kalifornien
Privatsammlung
Ausstellung
Paris, Frankreich, Galerie Durand-Ruel, Camille Pissarro, 1892, Nr. 30
Warschau, Polen, Towarzstwo, Zachety Sztuk Pieknuch w Krolestwie Polskiem, Wystawa Dziel Artystow Francusk...Mehr.....ich, 1911, Nr. 114
Zürich, Schweiz, Kunsthaus, L'Art française des XIXe et Xxe siècles, 1917, Nr. 152
Paris, Frankreich, Gazette des Beaux-Arts, La Peinture française du XIX siècle en Suisse, 1938, Nr. 76
Brüssel, Belgien, Palais des Beaux-Arts, De David à Cézanne, 1947-48, Nr. 108
Santa Barbara, Kalifornien, Santa Barbara Museum of Art, Santa Barbara Collects: Eindrücke aus Frankreich, 1998, Nr. 51
Literaturhinweise
Alfred Ernst, "Camille Pissarro", La Paix, Paris, Februar 1892, S. 2
Janine Bailley-Herzberg, Correspondance de Camille Pissarro, Bd. III, Paris, 1988, Brief Nr. 734, S. 171, Nr. 5
Ludovic-Rodo Pissarro und Lionello Venturi, Camille Pissarro: son art, son oeuvre, Bd. I Paris, 1939, Nr. 681, S. 177; Bd. II, Nr. 681, Taf. 141
Eric Zafran, Santa Barbara Collects: Impressionen aus Frankreich, Santa Barbara, CA, 1988, Nr. 51, illustriert
Joachim Pissarro und Claire Durand-Ruel Snollaerts, Pissarro, Kritischer Katalog der Gemälde, Bd. III, Paris, 2005, Nr. 776, illustriert S. 514
...WENIGER..... Preis1,900,000
Camille Pissarros La Briqueterie Delafolie à Éragny (1884) zeigt eine lebendige ländliche Szene aus Éragny. Das Gemälde wurde nie auf einer Auktion versteigert, sondern war seit seiner Entstehung auf zahlreichen Ausstellungen in Zürich, Paris, Brüssel, Warschau und Santa Barbara zu sehen. Dokumentiert als Nr. 776 in Band III des Werkverzeichnisses von Joachim Pissarro und Claire Durand-Ruel Snollaerts (Abb. S. 514), ist es ein Zeugnis von Pissarros impressionistischem Erbe.





Im Vordergrund ist eine polychrome Wiese zu sehen. Die stakkatoartigen grünen, ockerfarbenen und lilafarbenen Pinselstriche in alle Richtungen vermitteln die sanfte Bewegung des Windes auf der Wiese unter einem flauschigen Himmel. In der Ferne taucht die Ziegelei Delafolie auf, die Pissarros gutem Freund und Nachbarn gehörte. Im Werkverzeichnis heißt es dazu:





"Die Ziegelei Delafolie in Éragny bezieht sich auf eine örtliche Ziegelei, die sich in Familienbesitz befand. Herr Delafolie war nicht nur Maurer, er war auch Pissarros Nachbar und braute seinen eigenen Apfelwein. Sein Apfelwein war angeblich so gut, dass Claude Monet einmal an Pissarro schrieb und fragte, wer der Händler sei und wie er ein Fass für sich bestellen könne. Pissarro und Herr Delafolie waren gute Freunde, und Pissarro nutzte die regelmäßigen Lieferungen von Herrn Delafolie nach Paris und Gisors, um seine Gemälde zusammen mit den Ziegelsteinen zu verschicken."





Ähnliche Werke befinden sich im Musée d'Orsay, dem Walters Art Museum und dem Birmingham Museum of Art. Dieses Gemälde bietet Sammlern ein seltenes, weitgereistes Werk, das Pissarros innige Verbindung zur Landschaft und zur Gemeinde von Éragny verkörpert.
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