After hearing many radio ads and seeing signs around the Milwaukee Art Museum all summer-long as I’d pass on my bike, I wasn’t going to miss the chance to see the Pissarro: Creating the Impressionist Landscape exhibition, especially since it’s only showing until September 9.
I’ve had the opportunity to study Camille Pissarro’s work through courses in art history, but this was my first time really experiencing his work. On account of my studies in art, I’ll admit that I’m the type to stand in front of a painting for hours, mulling over the line curvature, use of color, etc. I’ll actually move so close that I can smell the scent of aged oil and canvas, but I do this to see each individual brush stroke and detail, or there’s always the possibility that I’m going blind. My method is obviously not for everyone; however, I encourage everybody to keep an open mind and a willingness to learn for a chance to be inspired.
In no way am I an expert or any sort of authority on this subject. I probably don’t know good art from bad art or what really makes art, well, art. Nevertheless, I enjoy losing myself in galleries and museums, books, and my own canvases.
The other day I finally visited the exhibition at the Art Museum.
The collection of 50 paintings on display are said to be some of Pissarro’s most pivotal works; therefore, I was eager to see it first hand. After paying my admission, I entered the exhibition hall and moved towards the first wall lined with paintings. The multi-room exhibit was captivating.
Unfortunately, stiff security wouldn’t allow photography, so I can’t show you exactly what I saw, but I managed to find several examples online that will suffice. I’ll admit that I was certainly tempted to sneak a snapshot; alas, my rebel yell wasn’t in full-force.
As I moved through the first room, I was initially fascinated with the large-scale painting, L’Hermitage at Pontoise. This painting depicts a winding path at the base of a cluster of houses in Pontoise, France. The subject matter of rural surroundings in the local capital was part of a series of large-scale landscapes that have been called Pissarro’s early masterpieces. It demonstrates a naturalistic approach and Realist style, which was later abandoned as he developed his trademarks of Impressionism.
I was pleased that every landscape painting was organized by year and style to demonstrate Pissarro’s creative shifts from formal compositions in the early 1860s to his daring entries as an Impressionist painter. My favorite works – The House in the Wood, Place du Vieux, Factory on the Bank of the Oise – demonstrate his progression from Realist to Impressionist.
This display explored the transformation of Pissarro’s landscape paintings over the course of 1864 to 1874, a very important decade in his career. At this time, Pissarro began to lay the groundwork for an entire generation of painters through his experimental techniques in brush strokes, palette choice, and subject matter, as explained on the MAM website. In time, Pissarro became one of the leaders of the Impressionist movement and now is recognized as one of the greats.
The exhibition hall remained quiet, yet crowded. Many people filed in wearing headphones to begin their guided tour. I used the audio tour when I went to Ellis Island a couple years ago. I highly recommend taking advantage of that opportunity if you want to learn more.
I continued to follow the flow of the art enthusiasts as they wound through the isles stopping at each oil painting on the path.
“You just want to go there,” a woman said sotto voce as she played tour
guide for a group of middle-aged women that steered around college students admiring several winter scenes. This was a perfect example of how Pissarro’s paintings made me feel. For instance, as I stood in front of the painting, The Municipal Garden, I felt like I was in Pontoise playing ball with the girl wearing a blue dress. I could feel the texture of the stone walls in The Diligence on the Road from Ennery to l'Hermitage and the wind blowing the trees in La Maison dans le Bois. Clearly, I wasn’t the only votary of art who felt this way.
Another painting that generated much feeling was Hoarfrost at Ennery. I could feel the sensitivity of Pissarro’s expressions by his natural awareness of relationships and harmonies in his subject matter. In this composition the nondescript peasant hunches over, gathering firewood in an endless landscape of rolling fields or farmland. This idealized, peaceful scene is a good example of Pissarro’s rural imagery as the golden fields seem to swallow up the peasant as he navigates alone through the calm, peaceful countryside. Just like many of Pissarro’s other works man is in harmony with nature.
The relationship of man and harmony is a reoccurring theme in Pissarro’s works. After walking through the exhibition hall admiring and studying the range of Pissarro’s landscape paintings, I noticed how each maintained the common theme, but developed through use of color – thick layers of bold colors became soft and airy – and brush strokes and textures developed into a looser brush and atmospheric effects. I noticed this in several compositions as the clouds looked as if they were moving by way of Pissarro’s rotating brush.
Pissarro’s use of visible brush strokes to create movement is what appealed to me. Thus, it’s interesting that at one point our “Father of Impressionism” faced criticism for his distinct style and noticeable brush strokes, as pointed out in the MAM’s radio spots. In my opinion this was only due to comparisons between his unique style and that of Romanticism and Realism in the 1800s.
It was remarkable to see the transformation from a traditional French landscape painter to a pioneering Impressionist; and art that inspired an entire generation of painters and now many Milwaukeeans.
While I’m schooled in art, I’m aware that for some (okay, many) this isn’t their forte. Still, I guarantee you’ll find this exhibit, among other displays at the Milwaukee Art Museum, more interesting than anticipated.
The Milwaukee Art Museum attracts all walks of life. As I said, I witnessed college students wearing backpacks and concentrating on each painting. I rubbed elbows with middle-aged men and women studying the compositions for nearly ten minutes. On the other hand, I witnessed those who stopped by every painting just long enough to take in the aesthetics of the piece, and then move on.
If you are still uneasy about visiting an art exhibit, remember that art is subjective, so even if you don’t like everything you see, you’ll definitely find appreciation in some form. Plus, museums like ours offer audio tours that offer more insight and a great learning experience for a novice in the arts.
This exhibit is something Milwaukee is fortunate to have. Even if you don’t like art, the fact that we have this type of culture available to us is something to boast about.
Pissarro: Creating the Impressionist Landscape shows through September 9 at the Milwaukee Art Museum. Admission is $14 for adults and includes general admission.
great read!
Posted by: dan | July 27, 2007 at 03:59 PM
I am pretty sure I need to go to this exhibit. You made it sound great and I am sure it will be. The tickets are discounted for students right? And what about Milwaukee residents? Isn't there a free day?
Posted by: Melanie | July 28, 2007 at 09:49 AM
Absolutely Melanie!
Non-member general admission is $8 for adults while students get a $4 discount. Also, Milwaukee residents get FREE general admission every Wednesday; however, this doesn't include special events. Regardless, it's a steal even if you have to pay the additional fee for special exhibits. Check the Milwaukee Art Museum website (http://mam.org/) for schedules and hours. I hope you make it to Pissarro: Creating the Impressionist Landscape. You won’t be disappointed!
Posted by: KarenC | July 28, 2007 at 07:06 PM