After spending six years in the countryside of Éragny on the banks of the Eput River, Pissarro returned to Paris.
Camille Pissarro
There he painted a series of paintings on the Avenue.
In early 1897, Pissarro looked out the window from his apartment at the Grand Hotel de Russell and was amazed to find that he could "overlook the whole avenue of Montmartre: carriages, buses, people in the groves, large houses that had to be set up neatly and neatly." This picture is easily reminiscent of pushkin's poem "Winter Morning": "The cold and the sun, / What a beautiful day!" /...... Look out the window: / Under the blue sky, / The snow is covering, / Like a magnificent carpet, / Shining in the sun; / The black light of the crystal forest shines. ”
"Morning on the Rue Montmartre in Winter"
Camille Pissarro's work is largely outdoors, with themes of country fields, haystacks, river valleys and farmers, the result of his careful observation of nature. His works perfected the impressionist method of stippled painting. In his paintings, we see the harmonious unity of man and the environment. The writer Zola, after reading his 1867 painting Of Pontoise At yalai, called him "one of the three or four great painters of our time." His brushwork is solid and extensive, with a master's tradition. Such a beautiful frame can only come from the hand of an honest person. ”
"Mount Yalai in Pontoise"
In the second half of the nineteenth century, Pissarro traveled to Pontoise, Luvicien, Errani and other places, and his paintings mainly focused on these places.
The Road of Luvitian
After the Franco-Prussian War of 1870, Pissarro and Monet fled to London together, where their careers were linked for life. There they saw Joseph Marrod William Turner (J. the works of M. W. Turner and John Constable, which had a profound influence on the development of their later Impressionist style.
Beginning in 1885, Pissarro began exploring pointillist – juxtaposing colors with small brushstrokes. Later, under the influence of Georges Seurat, Pissarro turned his attention to "Neo-Impressionism".
Haymaking, Éragny (Hay Harvest, Iragni)
In his later years, Pissarro mainly depicted bustling cities and street buildings, taking more overhead views. These paintings of the Avenue Montmartre are the most representative.
The use of divided solid color dots to mix through the distant color space to form a vivid and dazzling picture, which is typical of Impressionism and the success of Pissarro.
From February to April 1897, he recorded with a brush two scenes of des Italiens on the right of Montmartre, and 14 scenes on the left of the Avenue, the wonders of urban life, unfolding under his window.
The crowds of the Avenue montmartre in the painting are flowing, the traffic is busy, and the buildings are lined up. The carriages, horses and crowds are very small, and can only be drawn with thick strokes according to feeling. The objects in the painting are vivid and realistic, the perspective is accurate, and the flow of cars and horses seems to move in the painting. The use of cool, warm and intermediate colors makes the color of this picture soft, the light is bright and full, the depiction is meticulous and varied, and it shows "purity, simplicity, thickness, softness, freedom, spontaneity and freshness" on the picture.
Now, on the Boulevard Montmartre, there is a very famous place called the French Moulin Rouge, which is a large cabaret with a long, red-glowing large impeller on the roof, which is a microcosm of Parisian culture. In this French theatre, there are performances every night, and the benefits are very good.
Influenced by the British film "The Red Dancing Shoes", based on Hans Christian Andersen's fairy tales, it has always been thought that the Moulin Rouge performs a traditional ballet. One year I actually came to Boulevard Montmartre, and after the show began, I realized that it was a nightclub-like performance.
There are two films themed around the Moulin Rouge, one is the French director Jean Renoir's "French Cancan" and the other is a film that was once an entry for the Cannes Film Festival, called "Moulin Rouge". The latter tells a poignant love story that took place at the Moulin Rouge around 1900. After the film was released in France, people paid more attention to the history and current situation of the Moulin Rouge.
Camille Pissarro, a consistent Impressionist painter, said: "Painting makes me happy, it is my life, nothing else matters." Pissarro was even more important to Impressionism than Monet, and people revered him as the Impressionist Moses.
Pissarro's incarnation is not as warm and melancholy as Van Gogh, nor as sunny and primitive as Gauguin's, but has a silent power.
A year before his death, Gauguin, far away in Tahiti, wrote: "He was my teacher"; three years after his death, Cézanne, the "father of modern painting", respectfully signed "Paul Cézanne, Pissarro's student" in his catalogue of exhibited works.