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Pissarro (Colour Library) [Paperback]

Christopher Lloyd
4.7 out of 5 stars  See all reviews (3 customer reviews)
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Book Description

12 Aug 1998 Colour Library

Camille Pissarro (1830-1903) was not only a central figure in the Impressionist movement but a major influence on the development of modern art. He was the only artist to exhibit at all eight of the Impressionist exhibitions between 1874 and 1886, and his letters are a fascinating and invaluable source of information on the theoretical aspects and practical implications of Impressionism.

Pissarro’s career touched that of an extraordinary number of his contemporaries, to whom he was often a teacher and always a friend. In his early years he worked with Monet; in the 1870s he painted in close friendship with Cézanne; he was a guide for Gauguin, whom he introduced to the Impressionist group; and in the 1880s he flirted with Neo-Impressionism with Seurat.

This book charts the evolution of his painting, and celebrates his compositional brilliance, technical skill and innovatory approach, forty-eight full-page colour plated, combined with Christopher Lloyd’s illuminating text, constitute a superb introduction to the artist. His essay on Pissaro, first published in 1979, has been revised and updated, with the addition of commentaries to each plate written by Amanda Renshaw, and a wide selection of comparative illustrations.

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Product details

  • Paperback: 128 pages
  • Publisher: Phaidon Press; 2nd Revised edition edition (12 Aug 1998)
  • Language: English
  • ISBN-10: 0714827290
  • ISBN-13: 978-0714827292
  • Product Dimensions: 1 x 22.5 x 29.9 cm
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 133,554 in Books (See Top 100 in Books)

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Product Description


'Ideal introductions for students and museum-goers.' (Independent)

About the Author

Christopher Lloyd is the Surveyor of the Queen’s Pictures.

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Customer Reviews

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Most Helpful Customer Reviews
5.0 out of 5 stars Strongly recommended 31 Mar 2014
Amongst the French Impressionists, Camille Pissarro was the only painter to show his work at all of the eight Impressionist exhibitions between 1874-1886. As a Jew, albeit a non-observant one, born in the Caribbean who retained his Danish passport throughout his life, Pissarro was an outsider, a situation that undoubtedly contributed to his artistic, personal and political independence.

This book, one of the Phaidon Colour Library series, was first published in 1979 and reprinted in an enlarged and revised edition in 1992. The updated essay, complemented by 17 b/w figures, is by Christopher Lloyd and Amanda Renshaw has contributed commentaries to the 48 colour plates and 18 b/w and colour comparative illustrations. There is also an Outline Biography and a brief Select Bibliography, as well as lists of the colour plates, figures in the text and those included in the commentaries. The plates range chronologically from “The Banks of the Marne”, 1864, showing the influence of Corot from whom the young artist received informal advice and encouragement, to a group of paintings from the artist’s final year, including “Self-Portrait”, 1903, the work that is reproduced on the front cover.

Like Renoir and unlike Sisley, Pissarro’s style changed between the 1870s and 1880s, including exploration of Pointillism in “View from my Window, Eragny”, 1886-88, and “The Apple Pickers, Eragny”, 1888. In the 1890s, the artist’s style returned to something close to that of the 1870s. Amongst the less common genres including in this book are “Still Life”, 1867, and “Pink Peonies”, 1873.
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4.0 out of 5 stars Camille Pissarro 9 Feb 2014
Format:Hardcover|Verified Purchase
A very good book to study Pissarro. Clear and informative. It was perfectly packed and arrived promptly. to be recommended
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2 of 9 people found the following review helpful
5.0 out of 5 stars lovely pictures 26 Mar 2011
I bought this as a present for my daughter as one of the prints was of a place near where she lives. It is a very interesting book and was in very good condition.
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Amazon.com: 4.5 out of 5 stars  4 reviews
12 of 14 people found the following review helpful
5.0 out of 5 stars ABSOLUTELY STUNNING COLOR PLATES 15 Jan 2008
By silky69 - Published on Amazon.com
The paintings presented in this book are mesmerizing. Each painting is presented on a full glossy page in color. There are landscapes as well as figures. Each print is of excellent quality --enough to frame. I LOVE this art book!
5 of 6 people found the following review helpful
3.0 out of 5 stars Christopher Lloyd, "Pissarro" with notes by Amanda Renshaw 2 Jan 2012
By Kenneth Hughes - Published on Amazon.com
Format:Paperback|Verified Purchase
This volume is on the whole acceptable as an introduction to Pissarro. Christopher Lloyd is one of the most eminent Pissarro scholars, and his big book on the painter in the Skira/Rizzoli series is one of the most authoritative we have (see my review on this website). That was a comprehensive historical analysis of Pissarro's development as an artist. This volume presents an introductory discussion of about 20 pages, with 17 illustrations, followed by an album of paintings, and I must say that the introduction is an excellently condensed version of the treatment in the larger book, including even the most succinct (two-paragraph) explanation of Pissarro's difficult relationship to anarchist politics that I have seen. There are forty-eight full-color plates and eighteen comparison illustrations, mostly black-and-white, presenting other paintings by Pissarro and by those of his coevals from Boudin to Seurat. No doubt Lloyd himself has chosen the paintings to be reproduced, as his text refers to the plates in order. Some of the black-and-white comparison illustrations here were full-color plates in the big Skira book and vise-versa, which was apparently a function of the need to shorten the text yet maintain a comprehensive survey of the evolution of Pissarro's painting. That has been done, and it should be clear that it is painting that we are talking about here: although Pissarro produced an immense amount of graphic work, its only appearance in this book is in one charcoal and pastel drawing presented as a study for one of the oils. The reproductions are very good and seem to be mostly quite true to color. Each plate has a commentary--and possibly also a comparison illustration--on the facing page, but therein lies the problem. Whereas Lloyd himself wrote all the commentaries on the pictures in the Skira volume, for this book Phaidon has had them all written in-house by one of their editorial staff, Amanda Renshaw. Ms. Renshaw is now Editorial Director and Deputy Publisher of Phaidon Press and the principal creator of "The Art Museum," Phaidon's imaginary museum, which claims to be the largest data-base of world art history ever assembled and which was launched in late summer 2011. I cannot assess any of that, but I do know that the notes she has provided here do not do justice to the paintings and are distinctly inferior to the level of Lloyd's discussion. One example is Pissarro's famous 1874 portrait of Cezanne, in which the sitter is flanked by images on the wall behind him. The note duly states that one image is "a contemporary political caricature of Adolphe Thiers . . . ," leaving it at that, and does not even mention one of the others, which is that of Gustave Courbet, who was at that very moment being hounded out of France because of his activities during the Paris Commune. All commentators on Pissarro's paintings consider this one of his most overtly political statements, but Ms. Renshaw is either unaware of this or doesn't think it worthy of mention-- either of the possibilities exposes the inadequacy of her comment. Another example is the wonderful "Two Female Peasants Chatting" from 1892, in which the young women are resting momentarily from their labor and are deeply pensive about something. After a brief comment on the composition, the note points out that Pissarro "has also studied the contrasts between the two figures." What are the contrasts? "One stands while the other is seated, and one has her head covered while the head of the other is bare." (94) That is perfectly true and lacks nothing in terms of banality. The notes to some of the other paintings are not so superficial, but that is mostly when they are able to take their cue from Christopher Lloyd's comments in his text. All of which is a great pity, because it forces a difficult decision on us: If one wants a good and serviceable introduction to Pissarro's paintings with a few dozen pretty good reproductions and an intelligent text written by a noted authority in about 125 pages--should one choose this one or John Rewald's very comparable book in the Abrams series (see my review on this website; I am referring here to the second, "concise" edition of Rewald's study)? It's probably a toss-up: Rewald has 126 pages, Lloyd 128. Rewald has 40 color plates and 47 b&w illustrations, Lloyd has 48 color plates but only 37 b&w illustrations. Rewald's introductory essay is a good bit longer than Lloyds, but the reproductions are not only fewer but also not as good. Rewald is in general not as painterly analytical as Lloyd, but at least he has written his own specific commentaries and not left them to an in-house editor. Now, if one had both these books they would complement one another very well; not many of the plates or the other illustrations repeat. Better yet would be to have one or another of the original, larger versions, and best of all to have both of them--but that's a different decision.
1 of 1 people found the following review helpful
5.0 out of 5 stars Start Here for the Impressionists. 20 Aug 2013
By H. M. Brenner - Published on Amazon.com
Format:Hardcover|Verified Purchase
I have sixteen of the "Library of Great Painters" books, these all follow as similar format. written pages with black and white print copies. Some add a biographical outline as this book does and also adds a section of black and white prints as a bonus. All then follow with the color plates in a chronological order with a written piece about the print. That written section varies from a detailed analysis of the painting to general background information with less specific analysis, this book follows the latter. The result I suppose is that the best work of the artist may not fill the pages but it does let one see the progression of their art through time.

As to Pissarro, I knew nothing about him (not an art historian by any means) until this book. After going through these pages I came away truly impressed with his part in the impressionist movement. I would easily suggest reading and viewing this book, learning what great importance he played in the fostering this style of painting. The author, Christopher Lloyd, did an excellent job of informing the reader of what some have called the father of impressionism.

I might add that in one review of another in this series, it was critical of the colors in the color plates. Personally I have never seen a photograph that did justice to the work of art. These are not full size color plates of the originals, enjoy them for what they are, small photographic copies.
5.0 out of 5 stars well worth the money 21 July 2013
By michael parks - Published on Amazon.com
Format:Paperback|Verified Purchase
Was put off by the fact that it is paperback until I got a copy out of the library. Fantastic paintings and reference material.
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