Fishmarket
1902
Illustrative frame preview.
Cleveland Museum of ArtOriginal work, 1879
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Camille Pissarro — The Edge of the Woods at L’Hermitage, Pontoise Print
Trees frame a shaded path at the edge of the woods. Pissarro layers greens, browns and small patches of light to capture the texture and depth of the landscape.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£29.00
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
Trees frame a shaded path at the edge of the woods. Pissarro layers greens, browns and small patches of light to capture the texture and depth of the landscape.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Camille Pissarro
- Artwork
- Camille Pissarro — The Edge of the Woods at L’Hermitage, Pontoise Print
- Date of work
- 1879
- Museum collection
- Cleveland Museum of Art
About Camille Pissarro
French, born in Saint Thomas · 1830–1903
Camille Pissarro was born on Saint Thomas, then part of the Danish West Indies. He built his artistic life in France, becoming a central figure in Impressionism. Older than many of his colleagues, he was admired for his supportive temperament as well as his painting. The landscapes and people around him offered a sustained alternative to grand academic subjects.
Pissarro helped sustain the Impressionist group and became a valued mentor within its circle. Rural scenes and the lives of ordinary people remained important to his work. His practice was also open to change: experiments with pointillist methods introduced closely placed touches of colour. Observation and an interest in new pictorial ideas developed alongside one another.
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