http://blogs.princeton.edu/writingart10/ Copyright 2006 Sun, 09 Jan 2005 13:24:09 -0500 http://www.sixapart.com/movabletype//?v=1.03 http://blogs.law.harvard.edu/tech/rss Examining Pissarro's factory paintings is hardly possible without also looking at his paintings of urban settings in general. In many of them, the skyline of the depicted city is freckled with numerous factory smokestacks. And, while the factories aren't... http://blogs.princeton.edu/writingart10/2005/01/urban_paintings.html http://blogs.princeton.edu/writingart10/2005/01/urban_paintings.html Sun, 09 Jan 2005 13:24:09 -0500 A greater understanding of Pissarro's factory paintings can be had by examining paintings of the same subject by other artists. One particularly interesting example is Degas. In many of his racetrack paintings, the viewer sees silhoutted factories in the background,... http://blogs.princeton.edu/writingart10/2005/01/factory_paintin.html http://blogs.princeton.edu/writingart10/2005/01/factory_paintin.html Sun, 09 Jan 2005 13:17:38 -0500 With regard to anarchy, industry, and Pissarro, contradictions exist not only between the artist's political convictions and his factory paintings, but also occur between his rural, agrarian paintings and his factory paintings. Camille Pissarro didn't always paint factories and... http://blogs.princeton.edu/writingart10/2005/01/pissarros_agrar.html http://blogs.princeton.edu/writingart10/2005/01/pissarros_agrar.html Sun, 09 Jan 2005 11:12:37 -0500 Like most of the Impressionists, Pissarro's personal life and his road to success as a painter were neither simple nor easy. Born in 1830 in the Virgin Islands, Pissarro was the son of a general store owner. His parents... http://blogs.princeton.edu/writingart10/2005/01/camille_pissarr.html http://blogs.princeton.edu/writingart10/2005/01/camille_pissarr.html Sun, 09 Jan 2005 10:27:34 -0500 Cindi Textor is a freshman and prospective math major at Princeton University from western New York state. She is a proud and die hard member of the University Scramble Band, and an all around nerd. Her hobbies include Texas... http://blogs.princeton.edu/writingart10/2004/12/about_the_autho.html http://blogs.princeton.edu/writingart10/2004/12/about_the_autho.html Fri, 10 Dec 2004 15:51:44 -0500 Primary Sources Pissarro, Camille. The Small Factory. 1863-1865. Musee National d'Art Moderne de Strasbourg. Pissarro, Camille. Pontoise, Quai du Pothius. 1868. Stadtische Kunsthalle, Mannheim. Pissarro, Camille. Factory Near Pontoise. 1873. The Museum of Fine Arts, Springfield, Massachusetts. Pissarro, Camille. Morning,... http://blogs.princeton.edu/writingart10/2004/12/works_cited.html http://blogs.princeton.edu/writingart10/2004/12/works_cited.html Fri, 10 Dec 2004 15:45:37 -0500 Contradictions Revisited What, then, do these contradictions between Pissarro's apparent praise of industry in his artwork and his stated belief that urbanization and industrialization were detrimental to society tell us about Pissarro? To begin, they remind us that Pissarro is... http://blogs.princeton.edu/writingart10/2004/12/conclusion.html http://blogs.princeton.edu/writingart10/2004/12/conclusion.html Fri, 10 Dec 2004 15:44:14 -0500 Morning, An Overcast Day, Rouen: Focal Placement Upon deeper analysis of the positioning of the factory in Morning, An Overcast Day, Rouen, one can see an even more subtle significance in the placement of the factory inside the city. In... http://blogs.princeton.edu/writingart10/2004/12/urban_factory_p_2.html http://blogs.princeton.edu/writingart10/2004/12/urban_factory_p_2.html Fri, 10 Dec 2004 15:39:36 -0500 Morning, An Overcast Day, Rouen, 1896: Urban Placement Finally, in order to see the celebratory nature of Pissarro's urban factory paintings, viewers may consider Morning, An Overcast Day, Rouen, where we can see again the significance of Pissarro's placement of... http://blogs.princeton.edu/writingart10/2004/12/urban_factory_p_1.html http://blogs.princeton.edu/writingart10/2004/12/urban_factory_p_1.html Fri, 10 Dec 2004 15:32:19 -0500 Factories in Rouen But, it is not nearly as confusing to his critics as his clear glorification of factories in cities two decades later. By the 1890s, when Pissarro painted his next series of industrial scenes, his political beliefs had... http://blogs.princeton.edu/writingart10/2004/12/urban_factory_p.html http://blogs.princeton.edu/writingart10/2004/12/urban_factory_p.html Fri, 10 Dec 2004 15:29:05 -0500 Factory near Pontoise, 1873 In Factory near Pontoise, for example, by placing the factory in a rural scene, and at the same time making the factory appear beautiful, Pissarro is able to say that the spread of industry is need... http://blogs.princeton.edu/writingart10/2004/12/rural_factory_p.html http://blogs.princeton.edu/writingart10/2004/12/rural_factory_p.html Fri, 10 Dec 2004 15:26:50 -0500 Factories in Pontoise It is not until the 1870s, however, that Pissarro sincerely attempts to draw attention to and to comment on the factories of nineteenth-century France, glorifying them through their placement in his paintings rather than degrading or ignoring... http://blogs.princeton.edu/writingart10/2004/12/more_pissarro.html http://blogs.princeton.edu/writingart10/2004/12/more_pissarro.html Tue, 07 Dec 2004 12:08:16 -0500 View of Pontoise, Quai du Pothius, 1868 Similarly, in View of Pontoise, Quai du Pothius (1868) the factory that appears in the background of the painting is certainly not the center of attention for the viewer, therefore giving little to... http://blogs.princeton.edu/writingart10/2004/11/anarchy_and_ind.html http://blogs.princeton.edu/writingart10/2004/11/anarchy_and_ind.html Tue, 30 Nov 2004 16:32:21 -0500 The Little Factory, 1863-65 Of course, if we begin by examining Pissarro's earliest factory paintings, from the 1860s and early 1870s, before his political principles were firmly in place, we see that they do not glorify industry as his later... http://blogs.princeton.edu/writingart10/2004/11/page_one.html http://blogs.princeton.edu/writingart10/2004/11/page_one.html Tue, 30 Nov 2004 14:26:29 -0500