Describing Pissarro's Boulevard Montmarte on a Winter Morning - Essay Example

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Pissarro’s “Boulevard Montmarte on a Winter Morning” Camille Pissarro was one of the key members of the French Impressionist group of visual artists. His Impressionism had a meaning that he only could portray with his paintings. A prominent critic of 1860s, Emile Zola, eulogized his paintings as well…
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Describing Pissarros Boulevard Montmarte on a Winter Morning
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Pissarro’s “Boulevard Montmarte on a Winter Morning” Camille Pissarro was one of the key members of the French Impressionist group of visual artists. His Impressionism had a meaning that he only could portray with his paintings. A prominent critic of 1860s, Emile Zola, eulogized his paintings as well. He was indeed one of the most innovative painters and impressionists of his time who was famous for dividing colors with beautiful edges with consummate ease. He disposed of Neo-impressionism in the 1890s whereby he adopted a style that used to focus more on supple methods, which could help him capture his sensations, and feelings that were related to the nature without any problems. This landscape painted by Camille Pissarro is one of the most striking and outstanding pieces of his in which he has shown the Hyde Park where some people as well as young kids are traveling across a beautiful land on the trunks of animals, which presumably can be taken as horses. The trees have different colors, which suggest that the season is of winter in which people are happy witnessing the loveliness of nature. From a first look at this painting, one would not be able to understand what it really is all about but with some viewing as well as with the passage of time, it would be easy for the observer to see what Pissarro encompasses within this painting (Glenn, 2000). This is a hallmark of Camille Pissarro – making the viewer think what the picture is about, slowly but surely one will understand its meaning as well as mystery and of course the beauty which lies behind the image. This painting has an immediate strike when one is in the process of looking at it because it touches whatever it has included in it and gives an instant stroke to the eye, thus being musical in its delightful tune. The simplicity with which this painting is crafted actually results in its achieving that agreement with the eye thus making room for the mind to collaborate and understand. According to Burty and Silvestre, these kinds of works have a purely artistic sort of finish, one that doesn’t demand anything after seeing this one. It depends upon the elements with which it is made up of in a strictly artistic sense which is neither socially nor humanly understandable from a commoner’s stance. This painting is one such example of the kind of paintings that come under the heading of impressionist works, as Pissarro was one. Modern critics are of the view that this kind of work usually address them first and then only cater to anything else. It could be a direct attack on Pissarro’s ability with respect to these paintings and in particular “Boulevard Montmarte on a Winter Morning”. In essence, Pissarro has painted his perceptual experience, which he has had at the hands of painting landscapes time and again, and this very piece of art is one such example. Partialness is suitably there in his painting, which makes it look a bit incomplete, but when the viewer sees it frequently and with some rest on his part taken, he will get to know what is actually hidden as reference to the meaning of this painting (Abbe, 2000). The setting of this piece of sculpture is built upon the people who are migrating from one part to another in some park, presumably the Hyde park with some children straying here and there thus enjoying the cold weather to its fullest. The surroundings in the picture have a bodily relation with the world, a thing too frequently seen in the work of Camille Pissarro. For him, all this is altered, made again and then ‘opticalized’ so that it does not provide any drifting effect for the viewer. The viewer is stuck in a world of his own which is ruled by Pissarro for the time being, the time that he makes us think what the painting is actually holding within it. Pissaro’s works were called as the “corners of creation” rightly so by him. He shows us the body that we can perceive from and slows up our eyesight so that we can understand that very perception with time and indeed our mind. Similarly, Pissarro’s landscapes work in the same manner, providing an image to the artist’s insight and his visual stirring of pieces of nature. His paintings aim at reinventing his art history (Wolcott, 2001). Pissarro’s paintings of landscape take from practice a means of convincing someone of the caliber of Duret thus letting the latter conclude that his paintings are certainly “insignificant sites” as well as being solid yet not being insufficient at all. The bottom line from Duret’s viewpoint being established works of art on the part of Pissarro. The impact that this painting had on my life was immensely significant. I understand the intricacies of life attached with the work of art. The different life shades also became apparent right in front of my eyes, which was something that I hold very closely to my heart. The painting sends me back to the old memories that I cherish even to this day. I recollect elements of the past which are no more with me. The only facet remains in the form of memories which are correctly portrayed through this work of art. References Abbe, M. (2000). “Something of the eternal.” Minneapolis Star Tribune, 4 September Glenn, J. (2000). “Van Gogh shows his Face at DIA.” Detroit News, 3 March Wolcott, J. (2001). “Van Gogh exhibit reveals great humanity.” Arts and Leisure, 24 September Read More
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