Still life with apples pissarro biography

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Still Life with Apples and Pitcher

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Title:Still Life with Apples and Pitcher

Artist:Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris)

Date:1872

Medium:Oil on canvas

Dimensions:18 1/4 x 22 1/4 in. (46.4 x 56.5 cm)

Classification:Paintings

Credit Line:Purchase, Mr. and Mrs. Richard J. Bernhard Gift, by exchange, 1983

Object Number:1983.166

The Painting: Pissarro was not greatly interested in still life. Even so, a still life dated 1867 (Toledo Museum of Art, 1949.6), relatively early in his career as a painter in France, was followed several years later by two pictures centered on fruit, of which this is one. The two must be contemporaneous as they are very close in size and have the same background; however, as they were soon separated (see below), it is not clear whether they were intended by the artist as a pair. The other, dated 1872, is Apples and Pears in a Round Basket (Henry and Rose Pearlman Foundation, on loan to the Princeton University Art Museum, L.1988.62.15). At the beginning of the year Pissarro was in Louveciennes, but in April he moved to Pontoise, where he must have painted the apples and pears that would have been available in lat

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Still Life with Apples and Pitcher (1872) by Camille Pissarro

“Still Life with Apples and Pitcher” is an artwork by Camille Pissarro, a notable figure in the Impressionist movement. This work dates back to 1872 and is executed in oil on canvas. It measures 56.5 x 46.4 cm and finds its home in the Metropolitan Museum of Art in New York City. The piece is a classic example of the still life genre, a common subject among artists who aimed to capture the fleeting effects of light and color characteristic of Impressionism.

The artwork displays a collection of richly colored apples resting on a white plate, positioned in the foreground. Near them lies a knife, its blade reflecting the light, suggesting use or the intention of use. Behind the plate is a pitcher adorned with a floral pattern; the curve of its body and neck offering a soft counterpoint to the organic shapes of the fruit. A delicate glass holds a dark liquid, likely wine, contributing to the sense of a moment frozen in time, perhaps after a meal or during a pause in preparation. The textures rendered by Pissarro’s brushwork, from the rough peel of the apples to the smooth surfaces of the pitcher and glass, showcase the Impressionist preoccupation with the sensory qualities of their subject matter.

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