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Renoir and Pissarro | Different Views

Past exhibition
21 June - 21 July 2023
  • Overview
  • Installation Views
  • News
  • Works
Overview
Camille Pissarro, L’Anse des Pilotes, après-midi, temps ensoleillé, le Havre , 1903
Camille Pissarro, L’Anse des Pilotes, après-midi, temps ensoleillé, le Havre , 1903

Connaught Brown explores the work of two titans of Impressionism – Camille Pissarro and Pierre-Auguste Renoir.


This major exhibition will, through their art, examine their views on society, subject matter, practice and technique.

 

As the founders of Impressionism, alongside Monet and Sisley, the two artists are often associated with one another. They exhibited together at the first Impressionist exhibition of 1874 in Paris and two of its subsequent editions.

 

Despite starting as friends, the right wing Renoir became alienated from the left wing Pissarro as the years went by. These ideologies separated the artists both personally and artistically. Within their paintings they differed on what they saw as of importance in their surroundings: Pissarro chose a form of realism, elevating a humble life, while Renoir favoured bucolic idealism.

 
The two artists also had opposing views on their role for the next generation of painters. When Renoir moved to Cagnes in the South of France he developed anincreasingly rich palette, which caught the attention of Matisse, Valtat and Modigliani, all of whom travelled to thevillage to pay homage to him. Revered as a figure to be studied, it is clear thatRenoir saw his role as that of imparter of knowledge.


In contrast, Pissarro viewed his relationship with the younger generation as reciprocal. Van Gogh, Gauguin, Luce and Cezanne all learnt from him. In turn, he studied them, adopting the pointillist technique after being introduced to its creators, Signac and Seurat, by his son Lucien.

 

The vast developments in technology and science, which had a great impact on theart of their time, were implemented very differently by the two artists. For Pissarro, this came through the Pointillist technique of juxtaposing small touches of pure colour. For Renoir, this became apparent when depicting objects in the foreground in greater detail, just as the eye sees.

 

This exhibition is a celebration of Renoir and Pissarro’s similarities and differences. Examining what brings the artists together and drives them apart, this unique display delves into what has made these artists epoch-defining figures.

 
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Installation Views
  • Connaught Brown Install 01
  • Connaught Brown Install 04
  • Connaught Brown Install 05
  • Connaught Brown Install 02
News
  • Renoir & Pissarro in Antiques Trade Gazette

    Renoir & Pissarro in Antiques Trade Gazette

    July 11, 2023 Read more
  • Renoir & Pissarro in Country Life Magazine

    Renoir & Pissarro in Country Life Magazine

    July 11, 2023 Read more
  • Renoir & Pissarro as a London Art Week highlight

    Renoir & Pissarro as a London Art Week highlight

    July 11, 2023
    Our Impressionist exhibition of works by Camille Pissarro and Pierre-August Renoir was part of the itinerary for London Art Week 2023 (30 June - 7...
    Read more
Works
  • Camille Pissarro, L’Anse des Pilotes, après-midi, temps ensoleillé, le Havre , 1903
    Camille Pissarro, L’Anse des Pilotes, après-midi, temps ensoleillé, le Havre , 1903
  • Camille Pissarro, Route enneigée avec maison, environs d'Éragny, 1885
    Camille Pissarro, Route enneigée avec maison, environs d'Éragny, 1885
  • Pierre-Auguste Renoir, Paysage, c. 1910-12
    Pierre-Auguste Renoir, Paysage, c. 1910-12
  • Pierre-Auguste Renoir, Paysage, 1916
    Pierre-Auguste Renoir, Paysage, 1916
  • Pierre-Auguste Renoir, Nu Assis, c. 1900-1902
    Pierre-Auguste Renoir, Nu Assis, c. 1900-1902
  • Camille Pissarro, Soleil couchant, c. 1872
    Camille Pissarro, Soleil couchant, c. 1872
  • Camille Pissarro Le Père Melon au repos, c. 1879 Oil on canvas 21 1/4 x 25 5/8 in, 54 x 65 cm Stamped 'C.P.' lower right
    Camille Pissarro
    Le Père Melon au repos, c. 1879
    Oil on canvas
    21 1/4 x 25 5/8 in, 54 x 65 cm
    Stamped 'C.P.' lower right
  • Pierre-Auguste Renoir, Lavandières au bord du Loup, 1917
    Pierre-Auguste Renoir, Lavandières au bord du Loup, 1917
  • Pierre-Auguste Renoir, Tête de femme blonde, 1908
    Pierre-Auguste Renoir, Tête de femme blonde, 1908
  • Camille Pissarro Marché aux poissons, Dieppe, 1901 Gouache on silk 6 1/4 x 10 1/4 in, 16 x 26 cm Signed 'C. Pissarro' lower left
    Camille Pissarro
    Marché aux poissons, Dieppe, 1901
    Gouache on silk
    6 1/4 x 10 1/4 in, 16 x 26 cm
    Signed 'C. Pissarro' lower left
  • Paul Paulin, Portrait head of Camille Pissarro, c. 1904
    Paul Paulin, Portrait head of Camille Pissarro, c. 1904
  • Camille Pissarro, Bords de l'Oise, environs de Pontoise, 1872
    Camille Pissarro, Bords de l'Oise, environs de Pontoise, 1872
  • Camille Pissarro Scène de ville, c.1852-54 Brush and sepia ink, pencil and wash on paper 10 3/8 x 14 1/8 in, 26.4 x 35.9 cm
    Camille Pissarro
    Scène de ville, c.1852-54
    Brush and sepia ink, pencil and wash on paper
    10 3/8 x 14 1/8 in, 26.4 x 35.9 cm
  • Camille Pissarro Bateaux à quai, 1894 Watercolour over pencil on paper laid down on board 5 1/4 x 7 1/8 in, 13.2 x 18.1 cm Signed 'C. Pissarro' lower left
    Camille Pissarro
    Bateaux à quai, 1894
    Watercolour over pencil on paper laid down on board
    5 1/4 x 7 1/8 in, 13.2 x 18.1 cm
    Signed 'C. Pissarro' lower left
  • Camille Pissarro, Chatillon sur Seine, c.1882
    Camille Pissarro, Chatillon sur Seine, c.1882
  • Camille Pissarro, Palmiers / Femmes Parlant (verso), c. 1850
    Camille Pissarro, Palmiers / Femmes Parlant (verso), c. 1850
  • Camille Pissarro, Double sided sheet from sketchbook, c. 1852
    Camille Pissarro, Double sided sheet from sketchbook, c. 1852
  • Camille Pissarro Etudes, 1852 Brush and ink on paper 15 1/4 x 11 1/4 in, 38.9 x 28.5 cm Inscribed 'Su amigo' in pencil upper left, inscribed 'C.P.' middle right in pencil overdrawn in pen, inscribed 'O.C.P (P)' lower left (recto) / Inscribed 'St Thomas' and dated 1852 upper right (verso)
    Camille Pissarro
    Etudes, 1852
    Brush and ink on paper
    15 1/4 x 11 1/4 in, 38.9 x 28.5 cm
    Inscribed 'Su amigo' in pencil upper left, inscribed 'C.P.' middle right in pencil overdrawn in pen, inscribed 'O.C.P (P)' lower left (recto) / Inscribed 'St Thomas' and dated 1852 upper right (verso)
    Sold
  • Camille Pissarro, Étude de Paysanne vue du profile gauche et appuyee sur un manche
    Camille Pissarro, Étude de Paysanne vue du profile gauche et appuyee sur un manche
  • Camille Pissarro El Cardonal La Guaira Ávila, 1852 Pencil on paper 10 3/8 x 14 1/8 in, 26.5 x 36 cm Signed ‘C. Pizarro’ lower right and titled and dated ‘El Cardonal La Guaira 15 Nov 1852’ lower left
    Camille Pissarro
    El Cardonal La Guaira Ávila, 1852
    Pencil on paper
    10 3/8 x 14 1/8 in, 26.5 x 36 cm
    Signed ‘C. Pizarro’ lower right and titled and dated ‘El Cardonal La Guaira 15 Nov 1852’ lower left
  • Camille Pissarro, Jeune femme nouant ses cheveux, c.1890
    Camille Pissarro, Jeune femme nouant ses cheveux, c.1890
  • Camille Pissarro, Paysage, 1890
    Camille Pissarro, Paysage, 1890
  • Pierre-Auguste Renoir Le Chemin, c.1889-95 Watercolour on paper 7 5/8 x 11 in, 19.5 x 28 cm
    Pierre-Auguste Renoir
    Le Chemin, c.1889-95
    Watercolour on paper
    7 5/8 x 11 in, 19.5 x 28 cm
  • Camille Pissarro, Battersea Bridge, Chelsea, London, c.1890
    Camille Pissarro, Battersea Bridge, Chelsea, London, c.1890
  • Camille Pissarro, Agneau, c. 1881
    Camille Pissarro, Agneau, c. 1881
  • Camille Pissarro, Homme de ferme auprès de deux chevaux, c. 1875
    Camille Pissarro, Homme de ferme auprès de deux chevaux, c. 1875
  • Camille Pissarro Paysanne dans le Choux, 1885 Etching, drypoint and aquatint laid on paper 11 1/2 x 9 1/4 in, 29.3 x 23.6 cm Signed in pencil and inscribed ‘Epreuve d’artiste’ and ‘no.4’ Laid on paper with full margins Second and final state One of 8 impressions of this state pulled by the artist, from the edition of 14 stamped and numbered lifetime impressions An additional 24 were printed posthumously
    Camille Pissarro
    Paysanne dans le Choux, 1885
    Etching, drypoint and aquatint laid on paper
    11 1/2 x 9 1/4 in, 29.3 x 23.6 cm
    Signed in pencil and inscribed ‘Epreuve d’artiste’ and ‘no.4’
    Laid on paper with full margins
    Second and final state
    One of 8 impressions of this state pulled by the artist, from the edition of 14 stamped and numbered lifetime impressions
    An additional 24 were printed posthumously
    Sold
  • Camille Pissarro Paysanne portant des seaux, 1889 Drypoint with aquatint in dark brown 10 3/8 x 7 3/4 in, 26.3 x 19.7 cm Signed, numbered 'no. 6 ep d'art', titled and dedicated 'a l'ami Theo van Rysselberghe' Seventh (and final) state One of 7 or 8 impressions of this state pulled by the artist, from the edition of c. 20-21 lifetime impressions An additional 25 were printed posthumously
    Camille Pissarro
    Paysanne portant des seaux, 1889
    Drypoint with aquatint in dark brown
    10 3/8 x 7 3/4 in, 26.3 x 19.7 cm
    Signed, numbered 'no. 6 ep d'art', titled and dedicated 'a l'ami Theo van Rysselberghe'
    Seventh (and final) state
    One of 7 or 8 impressions of this state pulled by the artist, from the edition of c. 20-21 lifetime impressions
    An additional 25 were printed posthumously
    Sold

Related artists

  • Camille Pissarro

    Camille Pissarro

  • Pierre-Auguste Renoir

    Pierre-Auguste Renoir

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