גב

קמיל פיסארו(1830-1903)

אמן ביו ביררהדאון PDF
 
<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>
La Briqueterie Delafolie à Éragny 1884 18 1/4 x 21 7/8 אינץ' (46.36 x 55.56 ס"מ) שמן על בד
מקור ומקור
דוראן-רואל, פריז, נרכש מהאמן, 1892
ורנר הרולד, ציריך, נרכש מהנ"ל בשנת 1917
משם בירושה עד 1991
גלריית מונטגומרי, סן פרנסיסקו (במשלוח)
גלריות הירשל ואדלר, ניו יורק
אוסף פרטי, ניו יורק, 1994
לורד וליידי רידלי טרי, סנטה ברברה, קליפורניה
אוסף פרטי
תערוכה
פריז, צרפת, גלרי דוראנד-רואל, Camille Pissarro, 1892, no. 30
ורשה, פולין, Towarzstwo, Zachety Sztuk Pieknuch w Krolestwie Polskiem, Wystawa Dziel Artystow Francusk... עוד...אייך, 1911, מס' 114
ציריך, שוויץ, Kunsthaus, L'Art française des XIXe et Xxe siècles, 1917, no. 152
פריז, צרפת, Gazette des Beaux-Arts, La Peinture française du XIX siècle en Suisse, 1938, no. 76
בריסל, בלגיה, Palais des Beaux-Arts, De David à Cézanne, 1947-48, מס'. 108
סנטה ברברה, קליפורניה, מוזיאון האמנות של סנטה ברברה, אוספי סנטה ברברה: רשמים מצרפת, 1998, מס' 51
ספרות
אלפרד ארנסט, "קמיל פיסארו", לה פאה, פריז, פברואר 1892, עמ'. 2
Janine Bailley-Herzberg, Correspondance de Camille Pissarro, Vol. III, פריז, 1988, מכתב מס. 734, עמ'. 171, מס'. 5
לודוביק-רודו פיסארו וליאונלו ונטורי, קמיל פיסארו: אמנות הבן, יצירת הבן, כרך. א' פריז, 1939, מס' 681, עמ'. 177; כרך השני, לא. 681, pl. 141
אריק זפרן, אוספי סנטה ברברה: רשמים מצרפת, סנטה ברברה, קליפורניה, 1988, מס' 51, איורים
יואכים פיסארו וקלייר דוראן-רואל סנולארטס, פיסארו, קטלוג ביקורתי של ציורים, כרך ג', פריז, 2005, מס' 776, איורים, עמ' 514
... פחות... מחיר 1,900,000
"הבריקטרי דלאפולי באראני" (La Briqueterie Delafolie à Eragny) (1884) מאת קמיל פיסארו מציג נוף כפרי עז מאראני. הציור מעולם לא הוצע למכירה פומבית, אלא הוצג בתערוכות רבות בציריך, פריז, בריסל, ורשה וסנטה ברברה מאז יצירתו. הציור, שתועד כמספר 776 בכרך השלישי של קטלוג ההמצאה מאת יואכים פיסארו וקלייר דוראן-רואל סנוארטס (מאויר בעמוד 514), מהווה עדות למורשתו האימפרסיוניסטית של פיסארו.





בחזית התמונה נראה אחו צבעוני. משיכות המכחול בצבעי ירוק, אוקר ולילך מכל עבר מעבירות את תנועת הרוח העדינה בשדה תחת שמיים צמריריים. במרחק, מתגלה מפעל הלבנים דלאפולי, בבעלות חברו הטוב ושכנו של פיסארו. קטלוג הקיום מציין:





"מפעל הלבנים דלאפולי באראני מתייחס למפעל לבנים מקומי בבעלות משפחתית ובניהול משפחתי. מר דלאפולי לא היה סתם בנאי - הוא היה שכנו של פיסארו ובישל לעצמו סיידר. הסיידר שלו היה, על פי הדיווחים, כל כך טוב עד שקלוד מונה כתב פעם לפיסארו ושאל מי הסוחר ואיך יוכל להזמין לעצמו חבית. פיסארו ומר דלאפולי היו חברים טובים, ופיסארו ניצל לעתים קרובות את משלוחיו הסדירים לפריז ולז'יזור כדי לשלוח את ציוריו יחד עם הלבנים."





יצירות דומות נמצאות במוזיאון ד'אורסיי, במוזיאון וולטרס לאמנות ובמוזיאון ברמינגהם לאמנות. ציור זה מציע לאספנים יצירה נדירה ופופולרית, המגלמת את הקשר האינטימי של פיסארו לנוף ולקהילה של אראני.
גב
לברר