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c. 1900

Today is the birthday of Camille Pissarro (Charlotte Amalie, Saint Thomas, Danish West Indies (now US Virgin Islands) 10 July 1830 – 13 November 1903 Paris); Impressionist and Neo-Impressionist painter.  His importance resides in his contributions to both Impressionism and Post-Impressionism.  Pissarro studied from forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot and later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.  Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886.

In 1871 he married his mother’s maid, Julie Vellay, a vineyard grower’s daughter, with whom he would later have seven children.  They lived outside of Paris in Pontoise and later in Louveciennes, both of which places inspired many of his paintings including scenes of village life, along with rivers, woods, and people at work.

Gallery

Jeune Fille lavant ses pieds 1885

• Boulevard Montmartre cityscape series
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  Boulevard Montmartre à Paris, 1897, Hermitage Museum

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  Boulevard Montmartre: Mardi Gras, 1897, Hammer Museum

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  Boulevard Montmartre, morning, cloudy weather, 1897, National Gallery of Victoria

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  The Boulevard Montmartre on a Winter Morning, 1897, Metropolitan Museum of Art

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  Le Boulevard de Montmartre, Matinée de Printemps, street view from hotel window, 1897

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  Boulevard Montmartre la nuit, 1898

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  Allée dans une forêt (“Road in a Forest”), 1859

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  Le chemin, (“The Way”) c. 1864

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  Châtaignier à Louveciennes, 1870, Musée d’Orsay, Paris

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  The Woods at Marly, 1871, Thyssen-Bornemisza Museum

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  The Road to Versailles, Louveciennes: Morning Frost, 1871, Dallas Museum of Art

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  Old Chelsea Bridge, London 1871, Smith College Museum of Arts

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  Still Life: Apples and Pears in a Round Basket, 1872, The Henry and Rose Pearlman Collection, on long-term loan to the Princeton University Art Museum

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  portrait of Paul Cézanne, National Gallery

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  Un Carrefour à l’Hermitage, Pontoise, 1876, Musée Malraux

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  Toits rouges, coin d’un village, hiver, Côte de Saint-Denis, Pontoise, 1877, Musée d’Orsay, Paris

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  The Côte des Bœufs at L’Hermitage, 1877, National Gallery

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  The garden of Pontoise, 1877

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  Washerwoman, Study, 1880, The Metropolitan Museum of Art

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  Conversation, c. 1881, National Museum of Western Art

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  The Harvest, 1882, Bridgestone Museum of Art, Tokyo

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  Le jardin de Maubuisson, Pontoise, 1882

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  The Church at Eragny, 1884, Walters Art Museum

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  Bergère rentrant des moutons (Shepherdess Bringing in Sheep) 1886, University of Oklahoma

   

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  Place du Théâtre Français: Fog Effect, 1897, Dallas Museum of Art

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  Haying at Eragny, 1889, private collection

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  Rouen, Rue de l’Épicerie, 1898, private collection

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  La Place du Théâtre Français, 1898, Los Angeles County Museum of Art

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  View of Rouen, 1898, Honolulu Museum of Art

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  Morning, Winter Sunshine, Frost, the Pont-Neuf, the Seine, the Louvre, Soleil D’hiver Gella Blanc, c. 1901, Honolulu Museum of Art

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  Le Jardin de Mirbeau aux Damps, Octave Mirbeau’s garden in Damps, 1891

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  Place du Havre, Paris, 1893, Art Institute of Chicago

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  Ship entering the Harbor at Le Havre, 1903, Dallas Museum of Art

Today is the birthday of Marcel Proust (Valentin Louis Georges Eugène Marcel Proust; Auteuil; 10 July 1871 – 18 November 1922 Paris); novelist, critic, and essayist best known for his monumental novel À la recherche du temps perdu (In Search of Lost Time; earlier interpreted as Remembrance of Things Past), published in seven parts between 1913 and 1927.

Autrefois on rêvait de posséder le cœur de la femme dont on était amoureux; plus tard sentir qu’on possède le cœur d’une femme peut suffire à vous en rendre amoureux.

• In his younger days a man dreams of possessing the heart of the woman whom he loves; later, the feeling that he possesses the heart of a woman may be enough to make him fall in love with her.

Le temps dont nous disposons chaque jour est élastique; les passions que nous ressentons le dilatent, celles que nous inspirons le rétrécissent et l’habitude le remplit.

• The time which we have at our disposal every day is elastic; the passions that we feel expand it, those that we inspire contract it; and habit fills up what remains

[Le bonheur] est, dans l’amour, un état anormal.

• In love, happiness is an abnormal state.

Comme tous les gens qui ne sont pas amoureux, il s’imaginait qu’on choisit la personne qu’on aime après mille délibérations et d’après des qualités et convenances diverses.

• Like everybody who is not in love, he imagined that one chose the person whom one loved after endless deliberations and on the strength of various qualities and advantages.

L’amour, c’est l’espace et le temps rendus sensibles au coeur.

• Love is space and time made tender to the heart.

L’adultère introduit l’esprit dans la lettre que bien souvent le mariage eût laissée morte.

• Adultery breathes new life into marriages which have been left for dead.

Une femme est d’une plus grande utilité pour notre vie si elle y est, au lieu d’un élément de bonheur, un instrument de chagrin, et il n’y en a pas une seule dont la possession soit aussi précieuse que celle des vérités qu’elle nous découvre en nous faisant souffrir.

• A woman is of greater service to our life if she is in it, instead of being an element of happiness, an instrument of sorrow, and there is not a woman in the world the possession of whom is as precious as that of the truths which she reveals to us by causing us to suffer.