Lucien Pissarro

The Impressionist painter Camille Pissarro's eldest son, Lucien, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. This substantial 1993 collection of the letters of Impressionist painter Camille Pissarro, published in the original French with extensive notes and illustrations, offers a unique source for anyone interested in English 'aesthetic' life towards the end of the nineteenth century. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views on the work of their now famous friends, mainly painters, writers of anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites in London and the Private Press movement inspired by William Morris, mingle advice on painting methods with views on current art trends, family matters, and their struggles for recognition and enough money to even post their letters.

The Impressionist painter Camille Pissarro’s eldest son, Lucien, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. Camille Pissarro’s letters are well-known but Lucien’s replies, which describe the world of post-William Morris London, have hitherto lacked a full scholarly edition. Lucien, also a painter, exhibited only in the last of the Impressionist exhibitions in Paris, although both he and his father were members of the neo-Impressionist group. To earn a living, Lucien turned to wood engraving, which led to his printing of rare books illustrated and printed by him on his Eragny Press in London. He even ceased to paint for a period. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views on the work of their now famous friends, mainly painters, writers of anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites in London and the Private Press movement in spired by William Morris, mingle advice on painting methods with views on current art trends, family matters, and their struggles for recognition and enough money to even post their letters.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.