{"info": {"total": 1, "parameters": {"skip": 0, "limit": 1000, "accession_number": "1990.7", "select": "accession_number,accession_number_sortable,cover_accession_number,department,collection,gallery,department,classification_type"}}, "data": [{"id": 155626, "accession_number": "1990.7", "share_license_status": "CC0", "tombstone": "The Lock at Pontoise, 1872. Camille Pissarro (French, 1830\u20131903). Oil on fabric; framed: 76.8 x 105.7 x 11.4 cm (30 1/4 x 41 5/8 x 4 1/2 in.); unframed: 53 x 83 cm (20 7/8 x 32 11/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1990.7", "current_location": null, "title": "The Lock at Pontoise", "creation_date": "1872", "creation_date_earliest": 1872, "creation_date_latest": 1872, "artists_tags": ["Jewish artists", "male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 76.8 x 105.7 x 11.4 cm (30 1/4 x 41 5/8 x 4 1/2 in.); Unframed: 53 x 83 cm (20 7/8 x 32 11/16 in.)", "dimensions": {"framed": {"height": 0.768, "height_inch": 30, "height_inch_fraction": 0.25, "width": 1.057, "width_inch": 41, "width_inch_fraction": 0.625, "depth": 0.114, "depth_inch": 4, "depth_inch_fraction": 0.5, "length": 0.065, "length_inch": 2, "length_inch_fraction": 0.5625}, "unframed": {"height": 0.53, "height_inch": 20, "height_inch_fraction": 0.875, "width": 0.83, "width_inch": 32, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: C. Pissarro 1872\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 232433, "title": "Paul Durand-Ruel and Impressionism", "description": "<i>Paul Durand-Ruel and Impressionism</i>. Mus\u00e9e du Luxembourg, Paris, France (October 15, 2014-February 8, 2015); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (March 4-May 31, 2015); Philadelphia Museum of Art, Philadelphia, PA (June 18-September 13, 2015).", "opening_date": "2014-10-15T00:00:00"}, {"id": 222011, "title": "Camille Pissarro - The First Among the Impressionists", "description": "<i>Camille Pissarro - The First Among the Impressionists</i>. Mus\u00e9e Marmottan Monet, 75016,  Paris, France (organizer) (February 23-July 16, 2017).", "opening_date": "2017-02-23T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 665818, "title": "The Honest Eye: Camille Pissarro's Impressionism", "description": "<i>The Honest Eye: Camille Pissarro's Impressionism</i>. Museum Barberini, Potsdam, Germany (organizer) (June 14-September 28, 2025); Denver Art Museum, Denver, CO (October 26, 2025-February 8, 2026).", "opening_date": "2025-06-14T04:00:00"}], "legacy": [{"description": "<em>Tableaux par Camille Pissarro.</em> Galeries Durand-Ruel, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em> Exposition d'oeuvres importantes de grands ma\u00eetres du dix-neuvi\u00e8me si\u00e8cle.</em> Paul Rosenberg, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Connecticut Collects-An Exhibition of Privately Owned Works of Art in Connecticut.</em> Wadsworth Atheneum, Hartford,CT (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>Pissarro</em>. Hayward Gallery, London, United Kingdom; Grand Palais, Paris, France; Museum of Fine Arts, Boston (1980-81).", "opening_date": "1980-01-01T00:00:00"}]}, "provenance": [{"description": "Charles Guasco", "citations": [], "footnotes": ["<div><!--block-->Prior to Guasco, the Wildenstein catalogue raisonn\u00e9 says that Durand-Ruel, London purchased the painting from Pissarro on May 25, 1872 and then sold it to Tissot on November 17, 1873.&nbsp; In spite of the specificity of these dates, the catalogue raisonn\u00e9 precedes each transaction with a question mark, suggesting some degree of uncertainty.&nbsp; Additionally, several handwritten notations found throughout CMA\u2019s file on the painting indicate that the Durand-Ruel reference is erroneous.&nbsp; Unfortunately, Durand-Ruel\u2019s archives do not provide an answer: Caroline Durand-Ruel Godfroy wrote in 1996 that they cannot say with certainty that the CMA painting was handled by the gallery prior to its ownership by Charles Guasco.&nbsp; Durand-Ruel could confirm, however, that Guasco does not seem to have been a client of the gallery, indicating that it was not from Durand-Ruel that Guasco purchased the painting.&nbsp;</div>"], "date": "Until 1900", "sortorder": 1}, {"description": "(Guasco sale, Galerie Georges Petit, Paris, June 11, 1900 (no. 60), sold to Louis Schoengr\u00fcn, Paris", "citations": [], "footnotes": [], "date": "1900", "sortorder": 2}, {"description": "Louis Schoengr\u00fcn, Paris", "citations": [], "footnotes": [], "date": "1900-1901", "sortorder": 3}, {"description": "(Schoengr\u00fcn sale, Paris, H\u00f4tel Drouot, Feb. 7, 1901 (no. 27), sold to Max Behrendt)", "citations": [], "footnotes": [], "date": "1901", "sortorder": 4}, {"description": "Max Behrendt, Paris", "citations": [], "footnotes": ["<div><!--block-->Behrendt is listed as the owner of the painting in the 1939 Pissarro catalogue raisonn\u00e9, and he lent it to exhibitions in 1928 (Durand-Ruel) and 1931 (Paul Rosenberg).&nbsp; Durand-Ruel\u2019s records show that Behrendt, who lived at 11 rue de Mar\u00e9chal Maunoury, Paris, deposited the painting with the gallery on January 31, 1928 for the exhibition, <em>Tableaux de Camille Pissarro, </em>and retrieved it on March 19 of that year.&nbsp; Beyond his address, few details are known about Behrendt\u2019s identity.&nbsp; A Max Behrendt \u2013 or possibly two, a father and son - and his art collection is mentioned frequently in the diary of Paul Landowski.&nbsp; In the list of \u201cNoms des personnes\u201d in the diary, there is a Max Behrendt listed with the life dates 1894-1962 and described as \u201ca Swiss actor, dancer, scriptwriter and producer.\u201d However, Landowksi\u2019s entry for August 15, 1928 refers to Behrendt\u2019s 70th birthday, suggesting a birth year of 1858.&nbsp; Other diary entries discuss Behrendt in connection with banking and finance, suggesting that perhaps he \u2013 or at least one of the Behrendts \u2013 was involved in banking/finance rather than theatre. &nbsp;</div>"], "date": "1901-at least 1939", "sortorder": 5}, {"description": "Possibly Gouin collection, Paris", "citations": [], "footnotes": ["<div><!--block-->The information provided to CMA by David Carritt, Ltd. includes the Gouin collection in the provenance with a question mark; a 1980/1981 Hayward exhibition lists \u201cParis(?), Gouin Collection,\u201d suggesting that while Gouin certainly owned the painting, the location of the collection was uncertain; and in 1991, Burlington Magazine listed \u201cGowin collection\u201d in the provenance.&nbsp; A painting by Monet offered at Christie\u2019s, New York on November 5, 2013 has a Madame Gouin (c. 1952) in its provenance, while a \u201cMadame Gouin\u201d is connected to one F\u00e9lix Gouin in the provenance of a drawing by Renan in the Louvre (RF 29476).&nbsp; The Wildenstein Pissarro catalogue raisonn\u00e9 does not include Gouin in the painting's provenance.</div>"], "date": "?", "sortorder": 6}, {"description": "Mrs. Carmona, sold to Wildenstein", "citations": [], "footnotes": ["<div><!--block-->Details about the identity of \u201cMrs. Carmona\u201d are unknown.&nbsp; It is possible she was related to one \u201cJacques Carmona\u201d of Paris who is listed in the 2005 Pissarro catalogue raisonn\u00e9 as having owned two other Pissarro paintings. &nbsp;</div>"], "date": "Until 1951", "sortorder": 7}, {"description": "(Wildenstein & Co., New York, sold to Eleanor Allen Cunningham)", "citations": [], "footnotes": [], "date": "1951-1955", "sortorder": 8}, {"description": "Eleanor Allen (Lamont) Cunningham [1910-1961], Hartford, CT, by descent to her son, Charles Cunningham, Jr", "citations": [], "footnotes": ["<div><!--block-->Eleanor Cunningham\u2019s husband, Charles C. Cunningham (d. 1979) was the director of the Wadsworth Athenaeum from 1946-1966.&nbsp;</div>"], "date": "1955-1961", "sortorder": 9}, {"description": "Charles Cunningham, Jr.", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 10}, {"description": "(Artemis Fine Arts/David Carritt, Ltd., London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "Until 1990", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1990-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The river portrayed here is 212 miles (341 km) long.", "early_education_description": null, "artlens_description": null, "description": "Pissarro was instrumental in developing the radically new Impressionist technique of painting quickly outdoors to capture fleeting effects of light and atmosphere. The rushing water and overcast sky in this view of a river lock near the artist\u2019s home at Pontoise, a rural commune about 17 miles northwest of Paris, are rendered with rapid, broken brushstrokes of pure color. Painting directly on canvas without preliminary drawing, Pissarro may have executed this work in a single session. The shimmering surface of broken color conveys the sensation of natural, outdoor light.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q21479251"], "internet_archive": ["https://archive.org/details/clevelandart-1990.7-the-lock-at-pontoise"]}, "citations": [{"citation": "Durand-Ruel Snollaerts, Claire. <em>Camille Pissarro, le premier des impressionnistes</em>. Paris: Hazan Editions, 2017.", "page_number": "Referenced: cat. no. 15, p. 44-45", "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux modernes, pastels, aquarelles, dessins</em>.  June 11, 1900.", "page_number": null, "url": null}, {"citation": "Caroline Durand-Ruel Godfroy, letter to Louise d\u2019Argencourt, May 22, 1996, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux modernes, pastels, aquarelles, dessins</em>.  June 11, 1900.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux par Boudin, Forain, Guillaumin, Isabey, Jongkind, Lebourg, Le\u0301pine, Lhermitte, Pissarro, Sisley, Stevens, Thaulow, Thornley, Troyon, Ziem</em>. Feb. 7, 1901.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux par Boudin, Forain, Guillaumin, Isabey, Jongkind, Lebourg, Le\u0301pine, Lhermitte, Pissarro, Sisley, Stevens, Thaulow, Thornley, Troyon, Ziem</em>. Feb. 7, 1901.", "page_number": null, "url": null}, {"citation": "Paul Rosenberg (Firm : Paris, France). <em>Exposition d'\u0153uvres importantes de grands maitres du dix-neuvie\u0300me sie\u0300cle: pre\u0302te\u0301es au profit de la Cite\u0301 Universitaire de l'Universite\u0301 de Paris, 18 mai-27 juin 1931</em>. Paris: Chez Paul Rosenberg, 1931.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Ludovico Rodo. <em>Camille Pissarro. Son Art-Son \u0152uvre. 1632 Illustrations. [A Catalogue-Raisonne\u0301. With an Introductory Essay by Lionello Venturi.]</em>. 1939.", "page_number": null, "url": null}, {"citation": "David Carritt, Ltd., painting information sheet, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Carritt, Ltd., painting information sheet, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "<em>Camille Pissarro, 1830-1903 : Hayward Gallery, London, 30 October 1980-11 January 1981, Grand Palais, Paris, 30 January-27 April 1981, Museum of Fine Arts, Boston, 19 May-9 August 1981</em>. London: Arts Council of Great Britain, 1980.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "<br>David Carritt, Ltd., painting information sheet, in CMA curatorial file.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Snollaerts, Claire Durand-Ruel. Camille Pissarro: Le premier des impressionnistes = the First among the Impressionists. 2017. Cat. no. 15", "page_number": "p, 44-45", "url": null}, {"citation": "Rodo,Ludovico, and Lionello Venturi. <em>Camille Pissarro; son art--son \u0153uvre</em>. Paris, France: P. Rosenberg, 1939.", "page_number": "Reproduced: no. 156, vol. I; vol. II, pl. 32", "url": null}, {"citation": "<em>Pissarro: Camille Pissarro, 1830-1903 : Hayward Gallery, London, 30 October 1980-11 January 1981, Grand Palais, Paris, 30 January-27 April 1981, Museum of Fine Arts, Boston, 19 May-9 August 1981</em>. London: Arts Council of Great Britain, 1980.", "page_number": null, "url": null}, {"citation": "Brettell, Richard R. <em>Pissarro and Pontoise: The Painter in a Landscape</em>. New Haven, CT: Yale University Press, 1990.", "page_number": "Reproduced: p. 19, fig. 13", "url": null}, {"citation": "\"Consolidated Audited Annual Report.\" <em>Artemis </em>89-90 (1991).", "page_number": "Mentioned and reproduced: p. 32-33", "url": null}, {"citation": "Hinson, Tom E. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Ar</em>t 78, no. 3 (June 1991): 63-147.", "page_number": "Mentioned and reproduced: p. 86", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 183", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Reproduced: p. 136-137", "url": null}, {"citation": "D' Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century.</em> Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: v. 2, p. 491-495, no. 171", "url": null}, {"citation": "Patry, Sylvie. <em>Paul Durand-Ruel: le pari de l'impressionnisme</em>. Paris, France: R\u00e9union des mus\u00e9es nationaux,2014.", "page_number": "Reproduced: p. 96, fig. 65; Mentioned: p. 261", "url": null}, {"citation": "Patry, Sylvie, Anne Robbins, Christopher Riopelle, Joseph J. Rishel, and Jennifer A. Thompson. <em>Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market</em>. London, United Kingdom: National Gallery Company, 2015.", "page_number": "Mentioned and reproduced: P. 261, no. 64", "url": null}, {"citation": "<em>Pissarro a\u0300 Pontoise</em>. Cergy-Pontoise Val d'Oise, le de\u0301partement, 2017.", "page_number": "Reproduced: P. 9", "url": ""}, {"citation": "Snollaerts, Claire Durand-Ruel and Christophe Duvivier. <em>Camille Pissarro: le premier des impressionnistes = the first among the impressionists.</em> Vanves: \u00c9ditions Hazan, [2017]; Paris: Mus\u00e9e Marmottan Monet, 2017.", "page_number": "Reproduced: P. 14-15, cat. 15", "url": null}, {"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 87-89, fig. 44", "url": ""}, {"citation": "Fava-Piz, Clarisse. \"The Path to Impressionism: Modern Landscapes.\" In <em>The Honest Eye: Camille Pissarro\u2019s Impressionism, </em>edited by Angelica Daneo, Clarisse Fava-Piz, Christoph Heinrich, Michael Philipp, Nerina Santorius, and Ortrud Westheider, 58-79. Exh. cat. Munich: Prestel, 2025.", "page_number": "Mentioned: p. 61; Reproduced: p. 72-73, no. 20", "url": ""}], "url": "https://clevelandart.org/art/1990.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_web.jpg", "width": "900", "height": "572", "filesize": "235234", "filename": "1990.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_print.jpg", "width": "3400", "height": "2159", "filesize": "3200479", "filename": "1990.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_full.tif", "width": "15083", "height": "9577", "filesize": "433381640", "filename": "1990.7_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt0_web.jpg", "width": "900", "height": "675", "filesize": "277197"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "4208277"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt0_full.tif", "width": "15246", "height": "11433", "filesize": "522955100"}, "date_created": "2017-07-27T10:53:49", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt1_web.jpg", "width": "900", "height": "573", "filesize": "210037"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt1_print.jpg", "width": "3400", "height": "2163", "filesize": "3480454"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt1_full.tif", "width": "7844", "height": "4990", "filesize": "117454492"}, "date_created": "2017-07-27T09:27:53", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt2_web.jpg", "width": "1263", "height": "802", "filesize": "739058"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt2_print.jpg", "width": "3400", "height": "2159", "filesize": "5289272"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_alt2_full.tif", "width": "5966", "height": "3789", "filesize": "67869228"}, "date_created": "2007-10-15T18:49:41", "annotation": ""}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155626, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "1872", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 08:04:55.871000"}]}