Still Life

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Still Life

Artist Camille Pissarro (French, 1830-1903)

Place of OriginFrance

Date1867

DimensionsPainting: 31 7/8 × 39 1/4 in. (81 × 99.7 cm)
Frame: 43 1/2 × 51 1/2 × 6 in. (110.5 × 130.8 × 15.2 cm)

Mediumoil on canvas

ClassificationPaintings

Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Object number

1949.6

On View

External Site Address (External address), On Loan

Label Text“Don’t bother trying to look for something new: you won’t find novelty in the subject matter, but in the way you express it.” --Camille Pissarro The subject of this painting is as much the display of how it was created, as it is what is represented (a simple meal of ham in a ceramic bowl, apples, bread, and red wine). Camille Pissarro used a palette knife to apply paint boldly in smooth, flat surfaces broken with sculpted areas of impasto (thickly built-up strokes of paint, from the Italian for “paste”). He also worked more delicately with the paintbrush in certain areas—see, for example, the wine glass. This deliberate juxtaposition of techniques results in a vibrant surface that can convey great visual energy and emotional power.Published ReferencesKunstler, C., "Camille Pissarro," La renaissance de l'art francaise, XI, Dec. 1928, p. 504, repr. p. 498.

Pissarro, L.R. and L. Venturi, Camille Pissarro, son art - son oeuvre, Paris, 1939, I, p. 20, no. 50; II, pl. 9.

Rewald, J. The History of Impressionism, 1st ed., New York, 1946, pp. 139-140, repr. p. 138; 4th ed., New York, 1973, pp. 157-158, repr. p. 156.

H.L.F. (Henry La Farge), "Ruisdael to Pissarro to Noguchi," Art News, XLIX, Mar. 1950, p. 32, repr. p. 33.

Connaissance des Arts, no. 27, 1954, p. 30.

Godwin, Molly Ohl, "Toledo Museum of Art: Post War Additions," Connoisseur, vol. 136, no. 548, October 1955, pp. 133-140.

Wittman, Otto, "L'Art Musee au Musee de Toledo," Connaissance, no. 125, July 1962, Paris, pp. 40-47, p. 111, repr. p. 45.

Arts, vol. 38, no. 5, Feb. 1964, repr. p. 67.

A Guide to the Toledo Museum of Art, Toledo, 1966, repr.

Sutton, Denys, "Nineteenth Century Painting, Trends and Cross-Currents," Apollo, vol. 86, no. 70, Dec. 1967, p. 493, repr. (col.) pl. XVIII, p. 495.

Lee, Katherine C., "French Impressionism and Post-Impressionism," Toledo Museum News, vol. 12, no. 3, Autumn 1969, p. 64, repr. p. 68.

Seurat et le Neo-Impressionisme, Tokyo, 1972, p. 114, repr. (col.) pl. 17.

Kunstler, Charles, Camille Pissarro, Milan, 1972, repr. p. 14.

Champa, K., Studies in Early Impressionism, New Haven, 1973, pp. 74-75, pl. 18.

Rewald, John, "The Impressionist Brush," The Metropolitan Museum of Art Bulletin, vol. 32, no. 3, 1973/1974, p. [17], repr. fig. 8.

The Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, pp. 127-128, pl. 248.

Schulze, Franz, "A Consistently Discriminating Connoisseurship," Art News, vol. 76, no. 4, Apr. 1977, p. 64.

Lloyd, Christopher, Pissarro, Oxford, 1979, p. 4, repr. (col.) plate 5.

Rewald, John, Die Geschichte des Impressionismus, Cologne, 1979, p. 104, repr.

Shikes, Ralph E., Pissarro, His Life and Work, New York, 1980, repr. p. 72, 324.

Krannert Art Museum Bulletin, vol. 7, no. 1, 1981, repr. p. 3.

Weisberg, Gaberiel P., "Pissarro: a Creative Dynamo Who Continually Renewed Himself," Art News, vol. 80, no. 7, Sept. 1981, p. 129, repr.

Lloyd, Christopher, Camille Pissarro, New York, 1981, p. 64, repr., p. 63.

Bernard, Bruce, The Impressionist Revolution, London, 1986, p. 262, repr. (col.) p. 223.

Eitner, Lorenz, An Outline of 19th Century European Painting, New York, 1988, vol. 1, pp. 402, 403, vol. 2, repr. p. 215.

Campbell, Christopher B., "Pissarro and the Palette Knife: Two Pictures from 1867," Apollo, vol. 136, no. 369, Nov. 1992, pp. 311-314, pl. I (col.).

PIssarro, Joachim, Camille Pissarro, New York, Rizzoli, 1992, fig. 1.

Pissarro, Joachim, Camille Pissarro, New York, H.N. Abrams, 1993, p. 268, fig. 318, p. 270.

Thompson, Jeffery E., At Home with the Impressionists: Masterpieces of French Still-life Painting, New York, Phillips Collection/Universe, 2001, repr. (det., col.) p. 11, repr. p. 80.

Drutt, Matthew, ed., Thannhauser: The Thannhauser Collection of the Guggenheim Museum, 2001, p. 201, repr. (col.).

Rosenberg, Pierre, La peinture francaises, Paris, Menges, 2001, v. 2, p. 772.

Herman, Amy, "Masterpieces of European Painting from the Toledo Museum of Art," The Frick Collection Members' Magazine, Fall 2002, p. 5, repr. p. 7 (col.).

Pissarro, Joachim and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, Milan, Skira; Paris, Wildenstein Institute, 2005, no 114, vol. 2, pp. 106-107, repr. (col.).

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, pp. 256-57, repr. (col.) and (det.).

Solana, Guillermo, Pissarro, Madrid, Museo Thyssen-Bornemisza, 2013, fig. 25, p. 59, repr. (col.) p. 59.

Theuveny, Christian and Claude Petit-Castelli, George Viau, un amateur éclairé: 50 ans de collection d'un ami des impressionnistes, Louviers, HB Impression, 2018, p. 92, fig. 491 (col.) p. 94.

Saul, Ann, Abstract Pissarro: Planting the Seeds of Abstraction, Philadelphia, Art Book Annex, 2019, p.19-21, repr. (col.) fig. 6 and 7 (detail).

Exhibition HistoryParis, Orangerie, Centenaire de la naissance de Camille Pissarro, 1930, no. 6.

Paris, Gazette des Beaux-Arts, Naissance de l'impressionisme, 1937, no. 73.

Amsterdam, Stedlijk Museum, Honderd Jaar fransche Kunst, 1938, no. 186.

New York, World's Fair French Pavillion, Five Centuries of History Mirrored in Five Centuries of French Art, 1939, no. 365, p. 89.

Philadelphia, Philadelphia Museum of Art, 400 Years of French Art, 1939.

New York, Wildenstein, Camille Pissarro: His Place in Art, 1945, no. 1.

Detroit, Detroit Institute of Arts, Two Sides of the Medal, French Paintings from Gerome to Gauguin, 1954, no. 50, p. 32, repr. p. 38.

Paris, Orangerie, De David a Toulouse-Lautrec: Chefs d'oeuvre des collections americaines, 1955, no. 24, repr.

Sarasota, Ringling Museum, Director's Choice: a Loan Exhibition, 1955, no. 24.

New York, Wildenstein, C. Pissarro, 1965, no. 3, repr.

Cleveland, Cleveland Museum of Art, The Realist Tradition, Nov. 12, 1980-Jan. 18, 1981, no. 121, p. 153, repr. p. 152.

Boston, Boston Museum of Fine Arts, Camille Pissarro 1830-1903, May 19-Aug. 9, 1981, no. 8, p. 75, repr. p. 74.

Toledo, The Toledo Museum of Art; Pittsburgh, Carnegie Museum of Art; Minneapolis, Minneapolis Institute of Arts; Kansas City, Nelson-Atkins Museum of Art, et al., Impressionism: Selections from Five American museums, 1989-1990, no. 60, p. 142, repr. (col.).

Paris, Grand Palais; New York, Metropolitan Museum of Art, The Origins of Impressionism, 1859-1869, 1994, no. 157, pp. 161, 445, repr. p. 162 (col.).

New York, Frick Collection, Masterpieces of European Painting from the Toledo Museum of Art, 2002-2003, p. [14], repr. (col.).

Washington D.C., The Phillips Collection; Boston, Museum of Fine Arts, Impressionist Still Life, 2001-2002, pp. 22, 58, 90, 214, 215, pl. 6 (col.).

New York, Museum of Modern Art; Los Angeles, Los Angeles County Museum of Art; Paris, Musée d'Orsay, Cézanne and Pissarro: Pioneering Modern Painting, June 24, 2005 - May 28, 2006, p. 75, pl. 5 (col.) p. 81. Cincinnati, Cincinnati Art Museum, One Each: Still Lifes by Cézanne, Pissarro & Friends, March 11 - May 8, 2022.