PISSARRO A PAVIA,MILANO Maybe not the most famous of the Impressionists (a term that the consumption of mass culture in recent years seems to have, at least in part, meaningless), but in the paintings of Camille Pissarro one can grasp with ease - but perhaps it would be more correct to say naturally - and without much apparent clamor, the sense of a continuing French painting season which, net of the forms of worship advertising developed in the late twentieth century, it has really changed the art world.s why the exhibition Pissarro - L soul of Impressionism , which will be open to the stables of the Visconti Castle of Pavia until June 2, deserves to be seen, despite not having a gigantic size or large icons of the collective. In the landscapes of the French painter, though, you can still capture that vibe, not only of the stroke, which initially shocked the well-meaning and that has been revealed to the world in a unique way, rather than by Claude Monet, Edouard Manet from the structured lesson. Pissarro is there, in a story that was being built, with both feet firmly planted, with a presence that leads to one of the greats who will come after him, as Paul Cezanne. It shows the bunting has merit, thanks to a rich multimedia section, to bring to life even the personal suggestions of Pissarro, in an intriguing game between art and video fiction.Nei run even the sea and nature. Multimedia objects that make up the compendium, and not as a simple side dish, to the paintings, in a dialogue that highlights how you can set up exhibitions in an intelligent way, and who knows if you can still use this adjective, moderno.Pissarro was born in Charlotte Amalie, in then the Danish West Indies (which later became, in 1917, U.S. Virgin Islands), July 10, 1830 by French-born Jewish father and a mother-Portuguese Creole native of the island. First made in the workshop of his fathers haberdasher, and having a passion for drawing, just could Pissarro ran away from home at the time of Nicaragua, where he produced his first paintings to pay for his trip to Europe. In Paris he attended the École des Beaux-Arts and studied the works of Gustave Courbet, Charles-François Daubigny, and Jean-Baptiste Camille Corot, who hit him so paryicolare. From 1859 he began to attend the Académie Suisse, where he met Claude Monet. He went to paint en plein air (outdoor) in the smaller countries of the periphery and along the rivers. In the same year he participated for the first time at the Salon in 1861 with a landscape of Montmorency.Nel became a friend of Paul Cézanne and Guillaumin. In 1861 and in 1863 was rejected by the Salon; why he decided to exhibit at the Salon des Refusés.Come many other painters, is a frequent visitor of the Café Guerbois, the local Batignolles where there are heated discussions about art. For his open and conciliatory, his look like a prophet with his long white beard, and encouragement that knew how to instil in young artists (he was, in fact, to discover the genius of Van Gogh), was seen by all Impressionists like the soul who knew how to keep the group together for many years. He died in Paris on 13 November 1903.La his painting is Impressionist in the sense that he feels the mobility of light and color effects. Although picture en plein air, meditating and studying for a long time, arranging the objects represented so as to give them, without defined boundaries, a solidity that affect the same Cézanne.
Posted on: Mon, 09 Jun 2014 04:59:52 +0000
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