Writing · observing · sharing

Camille Pissarro’s letters

A rich correspondence bringing together family life, painting, fellow artists and Pissarro’s convictions.

11 letters available

06.10.1902

To his son Rodolphe: Dieppe's paintings and the funeral of Émile Zola

Camille Pissarro → Ludovic-Rodolphe Pissarro

Eragny-Bazincourt, by Gisors (Eure)

Camille Pissarro informs his son Rodolphe that he plans to visit Paris shortly to bring his paintings to Dieppe. Having learned that Georges had to come to the capital to attend the funeral of Émile Zola, he asked Rodolphe to tell him how long he would stay in Paris, because he would like to meet him and see the studies he would probably have brought. Pissarro states that he will choose a day when the weather will not be too bad or too cold. He ends by giving reassuring news about the family.

Read the letter →

14.03.1890

Acknowledgements, Montaignac and current tables

Camille Pissarro → Claude Monet

Eragny, by Gisors (Eure)

Camille Pissarro thanks Claude Monet for his letter and his offer of friendly service. He was especially pleased to be put in touch with Mr Montaignac, whom he hoped he could use as an intermediary for amateurs, which was one of his main embarrassments. Pissarro then explains that he will travel to Caumartin Street as soon as he has completed the paintings on which he is still working, believing that he needs at least an additional eight days. He concluded by humorously evoking the criticisms made to the painters not to finish their paintings.

Read the letter →

10.01.1888

Gratitude towards Art Defender

Camille Pissarro → Gustave Geffroy

Paris → Paris — 88, rue de Belleville

Camille Pissarro thanks Gustave Geffroy for his kind and friendly letter. Forced to leave Paris the same day, he hopes to be able to meet him when he returns. Pissarro expresses his gratitude to intellectuals able to understand and encourage artists in their struggles for art. This short letter demonstrates the importance it attached to the support of writers and critics in favor of modern painting.

Read the letter →

07.12.1885

Pissarro in Monet: exhibition project between artists

Camille Pissarro → Claude Monet

Paris

In this letter, Camille Pissarro informs Claude Monet of the ongoing discussions on an exhibition project. After a visit to Mary Cassatt, he explained that their first discussions had focused on this issue and suggested that an agreement be envisaged between several artists, including Degas, Caillebotte, Guillaumin, Berthe Morisot, Cassatt and a few others. Pissarro insists on one essential point: the exhibition should not be organised by the "Durand element" alone, but should be clearly identified by the artists themselves. He finally asked Monet to write to him quickly in Paris before his departure scheduled for the following Wednesday.

Read the letter →

12.01.1885 · uncertain date

Pissarro in Monet: "Times are so hard"

Camille Pissarro. → Claude Monet

Eragny, by Gisors (Eure).

Camille Pissarro explains to Claude Monet that he received his telegram late and that he cannot go to Paris, his son Lucien before himself moving there for his publications of engravings. Most of all, he confides in his serious financial difficulties: the times are so hard that he must limit his expenses, give up meals shared with his friends and sell his paintings at random. Despite this embarrassment, Pissarro hopes to find Monet again as in the past when his situation has improved. This letter gives a very direct testimony of the painter's material precariousness.

Read the letter →

04.01.1885 · uncertain date

Dinner project in Paris, Gustave Manet's death and happy New Year's wishes

Camille Pissarro → Claude Monet

Eragny-sur-Epte, by Gisors (Eure)

Camille Pissarro announces to Claude Monet that he will be in Paris around 9 January and hopes to meet him there at a dinner scheduled for 7 or 8 January. He told him that he had sent Huysmans's letter, and then evoked Gustave Manet's death, which inspired him to reflect melancholy on the disappearance of the family and the survival of the name through the painter's work. He then asked Monet to convey, on his part and that of Lucien, their regrets to Madame Hoschedé and her family, while apologizing for failing to thank her earlier for her reception. The letter concludes with good year wishes addressed to Monet and his children.

Read the letter →

01.12.1884 · uncertain date

Pissarro in Monet: mutual assistance and difficulties between Impressionists

Camille Pissarro → Claude Monet

Pontoise

Camille Pissarro responds to Claude Monet's material difficulties and assures him that he will try to help him despite his own precarious financial situation. He evokes the support received from Gustave Caillebotte and recommends that Monet ask Mr.La Place, patron of the brewery La Grande Pinte, to create a decorated palette. He also advised him to pass this on to Alfred Sisley. The letter bears witness to the concrete solidarity between Impressionist painters and the uncertainty of sales.

Read the letter →

02.11.1883

Letter from Camille Pissarro to Eugene Murer

Camille Pissarro → Eugene Murer

Rouen (Seine-Maritime, France)

Set temporarily in Rouen to paint, Camille Pissarro transmits to Eugène Murer the Parisian address of his brother. He announced to him above all the imminent visit of Paul Gauguin, who had just definitively left the world of finance to devote himself entirely to painting and sought to settle in Rouen. Pissarro seeks Murer's support and network to help Gauguin take his first steps as a professional artist. The end of the missive evokes Pissarro's ongoing work and mentions an argument between Armand Guillaumin ("William") and Murer.

Read the letter →

12.06.1883

Pissarro in Monet: concerns about Durand-Ruel and the art market

Camille Pissarro → Claude Monet

Osny, by Pontoise, SW

In this letter addressed to Claude Monet, Camille Pissarro apologizes for having delayed answering and confides his own discouragement in the face of the future. He spoke at length about the worrying situation of their business with Durand-Ruel: difficulties of money, low sales in London as in Paris, Sisley exhibition without result, sending paintings to Boston deemed not useful, and exhibition project in Holland. Pissarro also criticizes how their works are presented to the public, considering that an art still misunderstood should be shown with more care, taste and mystery. The letter shows both the fragility of the impressionist market after the crash and the lucidity of Pissarro on the conditions for the diffusion of their painting.

Read the letter →

04.01.1883 · uncertain date

Learn English and not forget to draw

Camille Pissarro → Lucien Pissarro

Osny, near Pontoise

Camille Pissarro expresses to his son Lucien the relief of the whole family after having received his telegram, his letter and then his postcard announcing his arrival. He encourages him to regularly give news and take advantage of his stay to learn English, promising to help him despite his own difficulties. The descriptions of Lucien's journey awaken Pissarro's memory of multicoloured houses and landscapes that he would have liked to paint. He imagines the dream of an artist who can continuously interrupt his journey to work in front of every beautiful motif. After giving news of the family and talking about his unfinished paintings, he ended with an essential advice addressed to his son: "Don't forget to draw. »

Read the letter →

14.03.1882 · uncertain date

Letter from Camille Pissarro to Theodore Duret

Camille Pissarro → Duret Theodore

Osny (Val-d'Oise, France)

In this letter, Pissarro entrusts to his friend and support Theodore Durand his serious financial difficulties. Despite the misery that weighs on his daily life and hinders his creative momentum, he reaffirms his absolute determination to paint according to his own vision, in complete breach of academic rules. He mentions Paul Gauguin's punctual help (who bought him a canvas) and observes with a point of resignation the emerging commercial success of his colleagues Claude Monet and Auguste Renoir.

Read the letter →