Highly regarded French painter (1830–1903), one of the leading figures of the impressionist movement, best known for his distinctive pointillist style. Autograph draft letter (in Pissarro’s hand, but not signed by him), in French, one page both sides, 4 x 4.5, no date. In full (translated): “Would you have the kindness to do me a great service? I received a personal invitation from Berlin for an exhibition by an association I’m not familiar with: the Verein Berliner Kustler [Association of Berlin Artists] at Bellevue St. 3. Because I don’t know anything about them would you be so kind as to tell me if that Association is trustworthy and whether my paintings might not clash with the artists who exhibit there. Please excuse my troubling you. I count on your discretion. I’ve thought about your little painting and corresponded with our friend [art dealer] Portier on the subject but he’s had a relapse and is bedridden. I learned this morning that he’s doing better and I hope that we’ll still be able to pursue our little transaction.” In fine condition, with a couple light rusty paperclip marks to left edge.
This letter comes to us from the formative years of the Impressionist movement; perhaps unbeknownst to the artists themselves, the new genre was taking form and spreading throughout Europe. Exhibits were organized on their behalf, much like this one in question; the mention of “a personal invitation from Berlin for an exhibition by an association I’m not familiar with: the Verein Berliner Kustler [Association of Berlin Artists],” places this letter around the time of Pissarro’s involvement in the Association of Berlin Artists exhibition in 1892. This would mark Pissarro’s first exposition of this size, an event that the artist himself claimed as a “sensation” while others, notably the dean of the conservative Berlin artists group, Adolf Menzel, proclaimed his disdain and rejection of the Impressionist cause.
Amidst the negative outcry, the exhibition played a monumental part in generating an awareness of the Impressionist movement, garnering both positive and negative reactions, but nevertheless, gaining exposure. These events give color to Pissarro’s prior concern, “I don’t know anything about them would you be so kind as to tell me if that Association is trustworthy and whether my paintings might not clash with the artists who exhibit there.” This letter provides an ironically unique glimpse into the days leading to the controversial exhibition. Pre-certified PSA/DNA and RR Auction COA.
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