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A Peasant Woman Carrying Buckets

Date

1889

Creator

Camille Pissarro

Location

Raclin Murphy Museum of Art

Pissarro excelled at depicting lowly subjects of peasants quietly engaged in their work. The use of aquatint gives a soft, atmospheric effect that appealed to the Impressionists, of whom he was a recognized leader. The light suggested by the negative spaces in the canopy above or the sun glinting off the figures’ shoulders is almost tangible. The convention of signing and numbering prints began only in the late 1800s. Pissarro’s signature and notations identifying this as the fourth state ("4e état") and that he pulled the print himself ("tirée par C.P.") is an early example of a marketing strategy that adds commercial value to a print.

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Pissarro excelled at depicting lowly subjects of peasants quietly engaged in their work. The use of aquatint gives a soft, atmospheric effect that appealed to the Impressionists, of whom he was a recognized leader. The light suggested by the negative spaces in the canopy above or the sun glinting off the figures’ shoulders is almost tangible. The convention of signing and numbering prints began only in the late 1800s. Pissarro’s signature and notations identifying this as the fourth state ("4e état") and that he pulled the print himself ("tirée par C.P.") is an early example of a marketing strategy that adds commercial value to a print.
Open external viewer application
  • Pissarro excelled at depicting lowly subjects of peasants quietly engaged in their work. The use of aquatint gives a soft, atmospheric effect that appealed to the Impressionists, of whom he was a recognized leader. The light suggested by the negative spaces in the canopy above or the sun glinting off the figures’ shoulders is almost tangible. The convention of signing and numbering prints began only in the late 1800s. Pissarro’s signature and notations identifying this as the fourth state ("4e état") and that he pulled the print himself ("tirée par C.P.") is an early example of a marketing strategy that adds commercial value to a print.
  • Pissarro excelled at depicting lowly subjects of peasants quietly engaged in their work. The use of aquatint gives a soft, atmospheric effect that appealed to the Impressionists, of whom he was a recognized leader. The light suggested by the negative spaces in the canopy above or the sun glinting off the figures’ shoulders is almost tangible. The convention of signing and numbering prints began only in the late 1800s. Pissarro’s signature and notations identifying this as the fourth state ("4e état") and that he pulled the print himself ("tirée par C.P.") is an early example of a marketing strategy that adds commercial value to a print.
Camille Pissarro (French, 1831 - 1903)
1889
Prints
Drypoint and aquatint on laid paper
2006.045
children
intaglio prints
peasants
women
Not on view, please request access
9 3/8 x 6 in. (23.81 x 15.24 cm)
Bequest of Mary Frances Mulholland Fund

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.