Lucien Pissarro stands as a significant, albeit sometimes overshadowed, figure in the transition from Impressionism to modern art movements of the early 20th century. Born in Paris on February 20, 1863, he was the eldest son of the celebrated Impressionist master Camille Pissarro. While French by birth, Lucien spent the majority of his prolific career in Britain, becoming a crucial link between French avant-garde developments and the burgeoning modern art scene in his adopted homeland. His multifaceted career encompassed painting, printmaking, wood engraving, and fine book design, leaving a distinct mark on the artistic landscape. He passed away on July 10, 1944, having lived and worked through a period of immense artistic change.
Early Life and Artistic Formation in France
Growing up in the Pissarro household meant immersion in the world of Impressionism from an early age. Lucien's formative years were spent surrounded by the leading figures of the movement, as his father Camille was not only a central participant but also a mentor and friend to many. Artists like Claude Monet, Edgar Degas, and Paul Cézanne were familiar presences, their discussions and works providing an unparalleled, informal art education. Naturally, Camille Pissarro himself was Lucien's first and most influential teacher, guiding his son's hand and eye.
The family's life was not without disruption. The Franco-Prussian War (1870-1871) forced the Pissarros to seek refuge in London. Although brief, this early exposure to England may have planted a seed for Lucien's later decision to settle there. Back in France, Lucien continued his artistic development under his father's tutelage, absorbing the principles of Impressionism – the focus on light, colour, and capturing fleeting moments of contemporary life. He began exhibiting his work, initially following closely in his father's stylistic footsteps.
Embracing Neo-Impressionism
While deeply rooted in Impressionism, Lucien was also receptive to the new artistic currents emerging in Paris during the 1880s. He became particularly interested in Neo-Impressionism, the scientifically-informed approach to colour and form pioneered by Georges Seurat and Paul Signac. These artists, who were also associates of his father, advocated for the use of small, distinct dots of pure colour (Pointillism or Divisionism) intended to blend in the viewer's eye, creating a more vibrant and luminous effect than traditional colour mixing.
Lucien embraced this technique, adapting it to his own sensibilities. He began experimenting with Pointillism in his landscapes and other works. A significant moment came in 1886 when he exhibited alongside Seurat, Signac, and his father Camille (who also briefly adopted the style) at the eighth and final Impressionist exhibition. He also participated in the Salon des Indépendants, a key venue for avant-garde art, showcasing his Neo-Impressionist works there, potentially as early as 1886 and certainly by 1890. This engagement placed him firmly within the Parisian avant-garde of the late 19th century.
Relocation and Life in Britain
In 1890, Lucien Pissarro made the decisive move to London. This relocation marked a pivotal point in his life and career. While he maintained strong ties with France and his family, Britain would become his permanent home and the primary context for his artistic activities for nearly half a century. He settled in London, eventually establishing a home in Chiswick.
His reasons for moving may have been multifaceted, potentially involving career opportunities and personal connections. In 1892, he married Esther Bensusan in Britain. Their marriage faced initial opposition from Esther's father, Jacob Bensusan, due to religious differences – Jacob wished Lucien to convert to Judaism, a demand Lucien, supported by his father Camille and Esther, refused. They married without Jacob's blessing, though a reconciliation reportedly occurred later. This event highlights a personal determination that perhaps mirrored his artistic independence. London provided the backdrop for the majority of his mature work and his significant contributions to British art.
Artistic Style: A Fusion of Influences
Lucien Pissarro's mature artistic style represents a unique synthesis of his French heritage and his experiences in Britain. He retained the Impressionist sensitivity to light, atmosphere, and the nuances of the natural world, learned directly from his father. However, he integrated this with the structural and chromatic principles of Neo-Impressionism. His application of Pointillist technique was often more subtle and less rigidly systematic than that of Seurat, resulting in works that balanced luminosity with a gentle, observational quality.
His primary subject matter became the English landscape. He painted the countryside around London and further afield, capturing the specific character of the English climate and topography. Unlike the sun-drenched canvases often associated with French Impressionism, Lucien's landscapes frequently depict the softer light, verdant greens, and changeable skies of Britain. He was also drawn to scenes that incorporated elements of modernity, such as railways cutting through the landscape. A notable example is Wells Farm Railway Bridge, Acton (1907), which demonstrates his ability to find pictorial interest in the intersection of nature and infrastructure, rendered with his characteristic broken brushwork and attention to light effects. He also painted still lifes and portraits, often featuring his family.
The Eragny Press: A Venture in Book Arts
Beyond painting, Lucien Pissarro made significant contributions as a printmaker, particularly in wood engraving, and as a book designer. In 1894, he and his wife Esther founded the Eragny Press, named after the village in Normandy where his father Camille had lived and worked. This private press became a key part of the revival of fine printing that characterized the Arts and Crafts movement in Britain, although its aesthetic remained distinctly linked to French developments.
The Eragny Press was a collaborative venture. Lucien typically designed the illustrations, often intricate wood engravings that complemented the text, and selected or designed the typefaces. Esther, a skilled craftswoman, was responsible for much of the meticulous engraving of the designs and decorative borders onto the wood blocks. Together, they produced around 32 beautifully crafted books, featuring works ranging from classical fables to contemporary poetry. The press was known for its high standards of design, typography, and printing, creating integrated works of art where text and image were harmoniously combined. This dedication to the book arts distinguished Lucien from many of his painter contemporaries and showcased his versatility.
Influence on British Art: Camden Town and Beyond
Settling in Britain, Lucien Pissarro became an important conduit for French modern art ideas. His presence, lineage, and direct connection to Impressionism and Neo-Impressionism were influential within the British art scene, which was often perceived as more conservative than its French counterpart at the time. He actively participated in progressive art circles in London.
He was a founding member of the influential Camden Town Group in 1911. This group, which included artists like Walter Sickert, Spencer Gore, and Harold Gilman, focused on depicting scenes of everyday urban life in London, often using bold colours and forms influenced by Post-Impressionism. Lucien's involvement brought a direct link to French avant-garde practice. Although the group was relatively short-lived, its impact on British modernism was considerable. Prior to this, he had joined the Fitzroy Street Group (a precursor to Camden Town) in 1906 and exhibited with the New English Art Club (NEAC) from 1904, a venue known for showcasing more progressive art than the Royal Academy.
Later, in 1919, Lucien founded the Monarro Group, aiming to promote artists inspired by Impressionism, specifically linking the names of Claude Monet and his father Camille Pissarro. This initiative further cemented his role as a promoter of Impressionist principles in Britain, advocating for artists who shared a commitment to observing nature and modern life through the lens of light and colour.
Relationships with Contemporaries
Throughout his life, Lucien maintained connections with a wide network of artists, dealers, and writers. His relationship with his father, Camille, was foundational, involving not just training but also lifelong correspondence and mutual support. After Camille's death in 1903, Lucien, along with his brother Ludovic-Rodo Pissarro, played a crucial role in managing his father's estate and legacy, contributing to the catalogue raisonné of Camille's work.
In France, his early associations included the key figures of Neo-Impressionism, Georges Seurat and Paul Signac. Through his father's circle, he knew Impressionist giants like Monet and Degas, and the Post-Impressionist Paul Cézanne. In his early career, the art dealer Theo van Gogh, brother of Vincent van Gogh, was a friend and exhibited Lucien's work.
In Britain, his most significant connections were within the orbit of the Fitzroy Street and Camden Town Groups, particularly Walter Sickert, who, despite his own distinct style, shared an interest in modern French painting. Lucien's role was often that of a respected elder figure, embodying a direct link to the Impressionist revolution. His quiet determination and dedication to his craft earned him considerable respect among his British peers.
Personal Life and Character
Lucien Pissarro appears to have been a dedicated and principled individual, both in his art and his personal life. The story of his marriage to Esther Bensusan reveals a willingness to stand firm on matters of personal conviction, even against familial pressure. Their partnership extended into their professional lives through the successful collaboration on the Eragny Press.
Like his father, Lucien held anarchist sympathies, aligning him with certain radical political and social ideas prevalent in artistic circles at the time, although this aspect of his life is perhaps less documented than his artistic endeavours. He and Esther had one daughter, Orovida Camille Pissarro (1893–1968), who also became an artist. Interestingly, Orovida largely rejected the Impressionist style of her father and grandfather, developing her own distinct approach, often focusing on depictions of animals in a style influenced by Asian art, yet continuing the Pissarro family's artistic dynasty.
Legacy and Market Presence
Lucien Pissarro's legacy is multifaceted. He was a talented painter who skillfully adapted the techniques of Impressionism and Neo-Impressionism to the landscapes and light of Britain. His work provides a fascinating bridge between French and British art at a crucial juncture. His role as a founder of the Camden Town Group and the Monarro Group underscores his importance in fostering modernism in Britain. Furthermore, his contribution to the art of the book through the Eragny Press remains highly regarded by collectors and historians of printing.
In the art market, Lucien Pissarro's works command respect, though they do not typically reach the stratospheric prices of his father Camille or leading Impressionists like Monet. His oil paintings, such as Vue de Bormes, might be estimated in the tens of thousands of dollars or pounds at auction. His prints and wood engravings, like the woodcut Floreal, are more accessible, sometimes selling for hundreds or low thousands of pounds/dollars. Auction houses like Christie's and Ketterer Kunst regularly handle his work. His market position reflects his status as a significant but perhaps secondary figure compared to the primary innovators of Impressionism and Post-Impressionism, yet his work is consistently sought after for its quality and historical importance.
Conclusion
Lucien Pissarro carved out a unique and significant place in the history of late 19th and early 20th-century art. As the inheritor of a great Impressionist legacy, he navigated the complex currents of Neo-Impressionism and Post-Impressionism, forging his own distinct style. His decision to make Britain his home allowed him to play a vital role in transmitting French avant-garde ideas across the Channel, significantly influencing the development of modern British art through his participation in groups like Camden Town. As a painter, printmaker, and founder of the esteemed Eragny Press, his diverse talents and quiet dedication left an enduring mark, ensuring his importance not just as Camille Pissarro's son, but as a notable artist and cultural facilitator in his own right.
