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by: Camille Pissarro  List Price: $19.95 Price: $3.15 You Save: $16.80 (84%)Prices subject to change. Availability: Usually ships in 1-2 business days
Dewey Decimal Number: 700 EAN: 9780878466481 ISBN: 0878466487 Label: MFA Publications Manufacturer: MFA Publications Number Of Items: 1 Number Of Pages: 384 Publication Date: October 15, 2002 Publisher: MFA Publications Release Date: September 02, 2002 Studio: MFA Publications Related Items:
Browse for similar items by category: Click to Display Editorial Review: Product Description: Pissarro's weekly letters to his son Lucien, covering the dramatic period of Impressionism from 1883 to the painter's death in 1905, form what might be called a diary of the Impressionist school. In these wise, reflective, warmhearted missives, Pissarro, called the father of Impressionism, presents the growth and development of Impressionism and the struggles of its practitioners, as well as pungent and evocative observations on the politics, literature, and daily life of France in the late 19th century. But more than anything, these letters reveal an artist elucidating the inner resources of his craft: Lucien Pissarro, a contemporary of van Gogh, Seurat, and Toulouse-Lautrec, was himself a student of painting, and it was to the young artist above all that his father communicated the unique and illuminating perspectives on art contained in these documents. Brilliantly annotated and introduced by the renowned art historian John Rewald, and featuring a new preface by Barbara Stern Shapiro, Curator for Special Projects at the Museum of Fine Arts, Boston, this edition of the Letters restores to print one of the most intimate and enjoyable views ever offered of the Impressionist period. Average Rating:
 Rating: - Pissarro's philosophy on painting...Despite the editorial review ("Pissarro's weekly letters to his son Lucien, covering the dramatic period of Impressionism from 1883 to the painter's death in 1905")-- Pissarro died in 1903, and by 1883 the era of Impressionism was about over; Pissarro, Renior, and even Monet had abandoned the technique by this time-- this is a marvelous insight into the mind of one of the most influential painters of all time. 
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