{"id":1468,"date":"2026-05-17T13:36:14","date_gmt":"2026-05-17T11:36:14","guid":{"rendered":"https:\/\/horscadre.paris\/boulevard-montmartre-a-winter-morning-how-pissarros-eye-condition-led-to-his-urban-paintings\/"},"modified":"2026-08-24T22:43:08","modified_gmt":"2026-08-24T20:43:08","slug":"boulevard-montmartre-a-winter-morning-how-pissarros-eye-condition-led-to-his-urban-paintings","status":"publish","type":"post","link":"https:\/\/horscadre.paris\/en\/boulevard-montmartre-a-winter-morning-how-pissarros-eye-condition-led-to-his-urban-paintings\/","title":{"rendered":"Boulevard Montmartre, a Winter Morning \u2014 How Pissarro\u2019s Eye Condition Led to His Urban Paintings"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Paris, <strong>February 10, 1897<\/strong>. A sixty-six-year-old man with a thick white beard goes up to a room on the first floor of <strong>the Grand H\u00f4tel de Russie<\/strong>, located at 1 rue Drouot, on the corner of Boulevard des Italiens. His name is Camille Pissarro. He has just left his home in \u00c9ragny-sur-Epte, 72 kilometers north of Paris. He suffers from a chronic eye condition\u2014 <strong>dacryocystitis<\/strong> with recurrent inflammation of the right lacrimal sac\u2014which for several years has made it virtually impossible for him to paint outdoors in the countryside.    <\/p>\n\n<p class=\"wp-block-paragraph\">He came to spend eight weeks in Paris to paint <strong>from the window of this hotel room<\/strong>. What he went on to paint\u2014 <strong>sixteen canvases in eight weeks<\/strong>, including fourteen views of Boulevard Montmartre\u2014became one of <strong>the most important urban series<\/strong> in the entire history of modern Western painting. <em>*Boulevard Montmartre, Winter Morning*<\/em>, now in the collection <strong>of the Metropolitan Museum of Art in New York<\/strong>, is one of the most accomplished works in this series. <\/p>\n\n<p class=\"wp-block-paragraph\">This article explains how a <strong>physical constraint<\/strong> \u2014the illness that prevented the peasant painter from painting outdoors\u2014led, through a reversal of circumstances, to one of the great revolutions in painting at the end of the 19th century: <strong>urban landscapes viewed from above<\/strong>.<\/p>\n\n<h2 class=\"wp-block-heading\">\u00c9ragny, Fall 1896 \u2014 Pissarro could no longer paint outdoors<\/h2>\n\n<p class=\"wp-block-paragraph\">By the fall of 1896, Pissarro had been living in \u00c9ragny-sur-Epte, in the Oise department, for twelve years. In 1892, he had purchased the large house there\u2014surrounded by meadows and orchards\u2014which he had been renting since 1884. He lived there with his wife Julie and their children. On paper, it was <strong>the ideal setting<\/strong> for a landscape painter: the Normandy countryside, a garden, the changing light of the seasons, and rural scenes at every turn.   <\/p>\n\n<p class=\"wp-block-paragraph\"><strong>But Pissarro can no longer paint outdoors.<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">Since the early 1890s, his chronic eye condition had worsened. Outdoor weather conditions\u2014dust, wind, pollen, and temperature fluctuations\u2014triggered <strong>inflammatory episodes<\/strong> in the lacrimal sac that could last several weeks. The painter, who for thirty years had painted outdoors systematically\u2014as much an aesthetic principle as a practical one\u2014could no longer do so.  <\/p>\n\n<p class=\"wp-block-paragraph\">This physical limitation led to a <strong>financial crisis<\/strong>. Sales slowed. His rural paintings were no longer evolving enough. He needs to find something else. Pissarro writes to his son <strong>Lucien<\/strong>, who is living in London as a printer and illustrator, that he plans to propose a new series\u2014this time <strong>an urban one<\/strong>\u2014to his dealer, <strong>Paul Durand-Ruel<\/strong>.    <\/p>\n\n<p class=\"wp-block-paragraph\">Pissarro had a business model in mind. Claude Monet\u2019s <strong>*Haystacks*<\/strong> series (1890\u20131891), exhibited at Durand-Ruel in May 1891, sold out in a matter of days and caused the prices of Monet\u2019s works to skyrocket. If Monet could paint the same haystack fifteen times under different lighting conditions and sell them all, why couldn\u2019t he? The idea for the Parisian urban series arose from this dual constraint\u2014physical (painting indoors) and commercial (following a model that worked).   <\/p>\n\n<h2 class=\"wp-block-heading\">The Grand H\u00f4tel de Russie, 1 Rue Drouot<\/h2>\n\n<p class=\"wp-block-paragraph\">Pissarro arrived in Paris <strong>on February 10, 1897<\/strong>. He checked into the <strong>Grand H\u00f4tel de Russie<\/strong>, located at 1 Rue Drouot, at the corner of Boulevard des Italiens and Rue Drouot. The hotel was not a luxury establishment\u2014a five-star hotel would have been beyond his budget\u2014but it offered modern amenities for the time: an elevator, bathrooms, and electric lighting in all the rooms.  <\/p>\n\n<p class=\"wp-block-paragraph\">He rents a <strong>room on the first floor<\/strong>. The window overlooks the intersection. From that window, Pissarro can see the following <strong>at the same time<\/strong>:  <\/p>\n\n<ul class=\"wp-block-list\">\n<li>On the left: <strong>Boulevard Montmartre<\/strong>, which slopes downward toward the southeast, lined with tall trees and Haussmann-style buildings arranged in perfect rows<\/li>\n\n\n\n<li>On the right: <strong>Boulevard des Italiens<\/strong>, which extends the view westward<\/li>\n\n\n\n<li>Below: <strong>Drouot Street<\/strong> itself, with its traffic of cars, omnibuses, and pedestrians<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\">The intersection is one of the <strong>busiest in Paris<\/strong>. It is just a short walk from<strong>the H\u00f4tel des Ventes Drouot<\/strong> (the auction house),<strong>the Op\u00e9ra Garnier<\/strong> (opened in 1875), and the <strong>Boulevard Haussmann<\/strong>, which was nearing completion. It is the <strong>beating heart<\/strong> of fin-de-si\u00e8cle Parisian modernity.  <\/p>\n\n<p class=\"wp-block-paragraph\">Pissarro wrote to his son Lucien in a letter dated February 1897, which is preserved in the <strong>Bailly-Herzberg<\/strong> edition of his <em>Correspondence<\/em> (5 volumes, 1980\u20131991):<\/p>\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\"><em>\u201cI have a splendid motif on my left that I\u2019m going to explore in every possible way; I have another motif that\u2019s terribly difficult\u2014almost as if viewed from a bird\u2019s-eye view\u2014over the cars, the buses, and the people moving between the tall trees and the large houses that I have to draw straight\u2014it\u2019s tricky.\u201d<\/em><\/p>\n<\/blockquote>\n\n<p class=\"wp-block-paragraph\"><em>\u2014 Camille Pissarro to his son Lucien, letter from February 1897<\/em><\/p>\n\n<p class=\"wp-block-paragraph\">This sentence is crucial. Pissarro identifies two distinct subjects: a <strong>main subject<\/strong> (on the left, the Boulevard Montmartre), which he will \u201cexplore in all its variations\u201d\u2014that is, <strong>in a series of paintings<\/strong>, at different times of day and under varying weather conditions. And a <strong>secondary motif<\/strong> (on the right, the Boulevard des Italiens), which is more complex due to the <strong>bird\u2019s-eye view<\/strong> from the second floor. The phrase<strong>\u201cbird\u2019s-eye view<\/strong>\u201d is his own metaphor for describing <strong>the\u4fef\u89c6\u89d2\u5ea6<\/strong> that would become the signature of the entire series.   <\/p>\n\n<h2 class=\"wp-block-heading\">The Painting \u2014 What It Depicts<\/h2>\n\n<p class=\"wp-block-paragraph\"><em>*Boulevard Montmartre, Winter Morning*<\/em> is an <strong>oil on canvas<\/strong> measuring <strong>64.8 centimeters high by 81.3 centimeters wide<\/strong> (official dimensions from the Metropolitan Museum). Landscape format. Signed and dated <em>\u201cC. Pissarro 97.\u201d<\/em>  <\/p>\n\n<p class=\"wp-block-paragraph\">The composition is dominated by a <strong>powerful diagonal<\/strong>: Boulevard Montmartre runs from the upper right corner to the lower left edge, in a straight perspective. This diagonal <strong>structures the entire pictorial space<\/strong>. On either side, <strong>two<\/strong> perfectly aligned <strong>rows of trees<\/strong> flank the boulevard, their branches stripped bare by winter forming a crisp, graphic pattern against the facades of Haussmann-style buildings.  <\/p>\n\n<p class=\"wp-block-paragraph\">On the <strong>boulevard itself<\/strong>, <strong>the heavy traffic<\/strong> is more implied than clearly visible: horse-drawn carriages, fiacres, omnibuses, commercial carts, bicycles, and large numbers of pedestrians. Pissarro paints these silhouettes with <strong>small, quick brushstrokes<\/strong>, almost pointillist in places\u2014a legacy of his Neo-Impressionist period from 1885 to 1890. The figures are not individually identifiable. They form <strong>a flow<\/strong>, a mass in motion, that animates the boulevard just as a river animates its bed.   <\/p>\n\n<p class=\"wp-block-paragraph\">In the background, <strong>the<\/strong> rows <strong>of Haussmann-style buildings<\/strong> display their standardized cream-beige facades, wrought-iron balconies, and gray zinc roofs. This is<strong>Second Empire urban planning<\/strong> at its finest. <\/p>\n\n<p class=\"wp-block-paragraph\">The <strong>sky<\/strong> occupies about one-third of the composition. It is <strong>misty<\/strong>, slightly milky, bathed in a subdued winter light. According to the Metropolitan Museum\u2019s description, one can make out <em>\u201ca veiled winter sun through the mist, perhaps against a backdrop of urban coal fires\u201d<\/em> \u2014the pollution from Parisian home furnaces that characterized the capital\u2019s winters at the time.  <\/p>\n\n<p class=\"wp-block-paragraph\">The <strong>color palette<\/strong> is <strong>limited and cool<\/strong>: blue-gray for the sky, pinkish-beige for the building facades, dark green for the tree trunks, black spots for the silhouettes, and a few touches of gold for the car wheels and the horses\u2019 harnesses. No bright colors. It\u2019s<strong>urban winter<\/strong> in all its simplicity.  <\/p>\n\n<h2 class=\"wp-block-heading\">Sixteen paintings in eight weeks<\/h2>\n\n<p class=\"wp-block-paragraph\">&#8220;<em>Boulevard Montmartre, Winter Morning<\/em> &#8221; is not a standalone work. It is <strong>one of sixteen paintings<\/strong> in a carefully conceived series. <\/p>\n\n<p class=\"wp-block-paragraph\">According to the <strong>catalog raisonn\u00e9<\/strong> published in 2005 by <strong>Joachim Pissarro<\/strong> and <strong>Claire Durand-Ruel Snollaerts<\/strong> (Wildenstein Institute \/ Skira), the complete series includes:<\/p>\n\n<ul class=\"wp-block-list\">\n<li><strong>14 views of Boulevard Montmartre<\/strong> (PDRS catalog nos. 1159\u20131172) \u2014 views toward the southeast from the window of the Grand H\u00f4tel de Russie<\/li>\n\n\n\n<li><strong>2 views of Boulevard des Italiens<\/strong> (PDRS catalog nos. 1173 and 1174) \u2014 views looking west from the same window<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\">That is, <strong>a total of sixteen paintings<\/strong>, created over <strong>eight weeks<\/strong> of intensive work, from February through April 25, 1897.<\/p>\n\n<p class=\"wp-block-paragraph\">Pissarro\u2019s method was meticulous. According to modern technical analyses of his paintings, <strong>he worked on several canvases simultaneously<\/strong>. He set several of them up on easels <strong>placed side by side<\/strong> in his hotel room. When the light changed\u2014a cloud passing by, the sunrise, or mist rising\u2014he <strong>would switch from one canvas to another<\/strong> to capture the corresponding effect. The next day, at the same time and under similar conditions, he would return to the first one.      <strong>A single painting can therefore take several days\u2014or even several weeks\u2014to complete.<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">This method of creating series was not new to Pissarro\u2014Monet had pioneered it with *The <strong>Haystacks*<\/strong> (1890\u20131891), *The <strong>Poplars*<\/strong> (1891), and *The <strong>Cathedrals of Rouen*<\/strong> (1892\u20131894). But Pissarro applied it with even greater systematic rigor: <strong>he captured the same geographical setting<\/strong> (the intersection of Boulevard des Italiens, Boulevard Montmartre, and Rue Drouot) across <strong>all possible variations<\/strong> of season (winter and early spring), time of day (morning, afternoon, evening, night), and weather (fog, sunshine, snow, rain). <\/p>\n\n<p class=\"wp-block-paragraph\">Pissarro worked <strong>all day long<\/strong>, taking <strong>only<\/strong> a <strong>two-and-a-half-hour break<\/strong> for lunch. For a 66-year-old man suffering from a chronic eye condition, this was a <strong>heroic<\/strong> pace. <\/p>\n\n<h2 class=\"wp-block-heading\">The Peasant Painter Who Became a Painter of Modernity<\/h2>\n\n<p class=\"wp-block-paragraph\">We need to take a closer look at the <strong>striking biographical paradox<\/strong> in this series.<\/p>\n\n<p class=\"wp-block-paragraph\">For <strong>thirty-five years<\/strong>, Pissarro painted rural France: Pontoise (1872\u20131882) and \u00c9ragny from 1884 onward. Farms, peasant women, orchards, country roads, and vegetable gardens. He became known as <strong>the \u201cpeasant painter\u201d<\/strong> of Impressionism, following in the tradition of Millet. His anarchist convictions shaped this preference: for Pissarro, the rural world was the <strong>setting for unalienated human dignity<\/strong>.    <\/p>\n\n<p class=\"wp-block-paragraph\">However, beginning in 1897, Pissarro became\u2014more out of necessity than by choice\u2014 <strong>the painter of urban modernity<\/strong>. The Boulevard Montmartre he painted is <strong>the very embodiment<\/strong> of what an anarchist of his generation might have detested: <\/p>\n\n<ul class=\"wp-block-list\">\n<li>This is<strong>Haussmannian urban planning<\/strong> (1853\u20131870)\u2014commissioned by Napoleon III to <strong>prevent popular uprisings<\/strong>. The straight boulevards cut through the medieval fabric of Paris were strategically designed to facilitate the movement of troops and prevent barricades. For an anarchist, this is<strong>the architecture of repression<\/strong>  <\/li>\n\n\n\n<li>This is <strong>industrial capitalist modernity<\/strong> \u2014the omnibuses are owned by private companies, the stores lining the boulevard are department stores (including Au Printemps nearby), and the passengers are wealthy members of the bourgeoisie<\/li>\n\n\n\n<li>It is the <strong>dissolution of the visible<\/strong> into the anonymous crowd\u2014in Pissarro\u2019s peasant paintings, the figures were individualized (Marie Larchev\u00eaque, the neighbor; the children identified by their first names). On the boulevard, the figures are <strong>interchangeable, without identity, flowing<\/strong> <\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\">Yet Pissarro <strong>makes no judgments<\/strong> in his paintings. He <strong>observes<\/strong>, he <strong>records<\/strong>, he <strong>transcribes<\/strong>. His paintings of the boulevards are surprisingly <strong>noncontroversial<\/strong> \u2014compared, for example, to the satirical drawings in his 1889 <em>series *Social Turpitudes*<\/em>, in which he explicitly denounces urban inequalities. On the boulevard, the painter recedes into the <strong>background<\/strong>, giving way to the <strong>play of light<\/strong> and the <strong>movement of the crowd<\/strong>.   <\/p>\n\n<p class=\"wp-block-paragraph\">This approach is undoubtedly the series\u2019 greatest artistic merit: Pissarro paints Haussmann\u2019s Paris <strong>as it is<\/strong>, neither celebrating nor condemning it. The result is an <strong>uncompromising chronicle<\/strong> of Parisian modernity\u2014precisely what makes the series so valuable to historians today. <\/p>\n\n<h2 class=\"wp-block-heading\">From the Grand H\u00f4tel de Russie to the Metropolitan Museum<\/h2>\n\n<p class=\"wp-block-paragraph\">The <strong>Grand H\u00f4tel de Russie<\/strong>, where Pissarro painted his series, no longer exists. The hotel was <strong>demolished in 1923<\/strong> to make way for the construction of the final section of <strong>Boulevard Haussmann<\/strong>, right at the corner where it meets Rue Drouot. The historical irony is striking: Pissarro painted <strong>from<\/strong> a late Haussmann-style building that was <strong>destroyed<\/strong> to complete the Haussmann project itself.  <\/p>\n\n<p class=\"wp-block-paragraph\"><em>*Boulevard Montmartre, Winter Morning*<\/em> was sold to a private collector on a specific date not documented in public sources. The painting remained in American private collections throughout the 20th century. In <strong>1960<\/strong>, it was <strong>donated to<\/strong> the <strong>Metropolitan Museum of Art in New York<\/strong> <strong>by Katrin S. Vietor, in memory of her husband Ernest G. Vietor<\/strong>. It has been on permanent display there ever since.   <\/p>\n\n<p class=\"wp-block-paragraph\">The <strong>other paintings in the series<\/strong> have met with varying fates. Seven are now housed in <strong>the world&#8217;s leading museums<\/strong>: <\/p>\n\n<ul class=\"wp-block-list\">\n<li><strong>National Gallery, London<\/strong>: <em>Boulevard Montmartre, Night Scene<\/em> \u2014the <strong>only night scene<\/strong> in the series<\/li>\n\n\n\n<li><strong>The Hermitage Museum, Saint Petersburg<\/strong>: Several Views<\/li>\n\n\n\n<li><strong>Metropolitan Museum, New York<\/strong>: The &#8220;Winter Matinee&#8221; version (the subject of this article)<\/li>\n\n\n\n<li><strong>Israel Museum, Jerusalem<\/strong>: <em>Montmartre Boulevard, Mardi Gras<\/em><\/li>\n\n\n\n<li>And several others in private collections in the United States, the United Kingdom, and Japan<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\">One of the paintings in the series, <strong><em>*Boulevard Montmartre, Spring Morning*<\/em><\/strong>, <strong>sold for 19.9 million British pounds<\/strong> at Sotheby\u2019s in London in February 2014\u2014equivalent <strong>to<\/strong> approximately <strong>38.3 million U.S. dollars<\/strong> in adjusted value. To date, this is <strong>the all-time record price<\/strong> for a work by Camille Pissarro at public auction. <\/p>\n\n<p class=\"wp-block-paragraph\">Pissarro, who painted these works at the age of 66 to cope with a financial crisis and compensate for an eye condition, could never have imagined that a century later they would fetch such high prices on the global market.<\/p>\n\n<h2 class=\"wp-block-heading\">How to View the Work Today<\/h2>\n\n<p class=\"wp-block-paragraph\">&#8220;<em>Boulevard Montmartre, Winter Morning<\/em> &#8221; is housed at the <a href=\"https:\/\/www.metmuseum.org\" target=\"_blank\" rel=\"noopener\"><strong>Metropolitan Museum of Art<\/strong><\/a> in New York. Practical information: <\/p>\n\n<ul class=\"wp-block-list\">\n<li><strong>Address<\/strong>: 1000 Fifth Avenue, New York, NY 10028, United States<\/li>\n\n\n\n<li><strong>Gallery<\/strong>: 19th-century European gallery, rooms dedicated to the Impressionists<\/li>\n\n\n\n<li><strong>Admission<\/strong>: Pay-what-you-can for residents of New York City, New York State, Connecticut, and New Jersey; fixed admission fee (approximately $30 for adults) for other visitors<\/li>\n\n\n\n<li><strong>Reservations<\/strong>: recommended; tickets available online<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\"><strong>Other highlights at the Metropolitan Museum on the same day<\/strong>:<\/p>\n\n<ul class=\"wp-block-list\">\n<li>Other works by Pissarro from the same period (Pissarro is very well represented at the Met)<\/li>\n\n\n\n<li>Monet&#8217;s <strong>*Cathedrals of Rouen*<\/strong> (the series that inspired Pissarro commercially)<\/li>\n\n\n\n<li>Several <strong>Parisian landscapes by other Impressionists<\/strong>: Pissarro, Caillebotte, Renoir, Manet<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\"><strong>To see other works from the series<\/strong> without going to New York:<\/p>\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/www.nationalgallery.org.uk\" target=\"_blank\" rel=\"noopener\"><strong>National Gallery, London<\/strong><\/a> : <em>Boulevard Montmartre, Night Scene<\/em> \u2014the only night scene<\/li>\n\n\n\n<li><strong>The Hermitage Museum, Saint Petersburg<\/strong>: several paintings<\/li>\n\n\n\n<li><strong>Mus\u00e9e d&#8217;Orsay, Paris<\/strong>: no paintings from the Boulevard Montmartre series, but several other urban works by Pissarro (from the Avenue de l&#8217;Op\u00e9ra, Jardin des Tuileries, and Louvre series)<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\">If you visit Paris, the <strong>intersection of Boulevard Montmartre and Rue Drouot<\/strong> is still there. The Grand H\u00f4tel de Russie is gone, but the view of the boulevard that Pissarro painted is still recognizable from the sidewalk. It\u2019s a five-minute walk from the H\u00f4tel des Ventes Drouot.  <\/p>\n\n<h2 class=\"wp-block-heading\">Further Reading<\/h2>\n\n<h3 class=\"wp-block-heading\"><strong>Institutional sources cited in this article<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li><strong>Metropolitan Museum of Art<\/strong>, <a href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/437310\" target=\"_blank\" rel=\"noopener\">official entry for <em>*The Boulevard Montmartre on a Winter Morning<\/em><\/a>*. Primary source. <\/li>\n\n\n\n<li><strong>Joachim Pissarro and Claire Durand-Ruel Snollaerts<\/strong>, <em>*Pissarro: Critical Catalog of Paintings*<\/em>, 3 volumes, Wildenstein Institute \/ Skira, Paris\/Milan, 2005. The definitive catalog raisonn\u00e9 (PDRS 1160 for this work). <\/li>\n\n\n\n<li><strong>Janine Bailly-Herzberg<\/strong> (ed.), <em>*The Correspondence of Camille Pissarro*<\/em>, 5 volumes, PUF \/ \u00c9ditions du Valhermeil, Paris, 1980\u20131991. A critical edition of the letters. <\/li>\n\n\n\n<li><strong>John Rewald<\/strong> (ed.), <em>Camille Pissarro, Letters to His Son Lucien<\/em>, Albin Michel, Paris, 1950.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>Modern Studies<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li><strong>Encyclop\u00e6dia Britannica<\/strong>, article &#8221; <em>The Boulevard Montmartre on a Winter Morning<\/em> &#8221; by Ann Kay.<\/li>\n\n\n\n<li><em>Pissarro, the First of the Impressionists<\/em>, exhibition catalog from the Mus\u00e9e Marmottan Monet, 2017.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>Institutional Documentation<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/www.metmuseum.org\" target=\"_blank\" rel=\"noopener\"><strong>Metropolitan Museum of Art, New York<\/strong><\/a> \u2014 the institution has owned it since 1960.<\/li>\n<\/ul>\n\n<h3 class=\"wp-block-heading\"><strong>See also on Hors Cadre<\/strong><\/h3>\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/horscadre.paris\/camille-pissarro\/\">Camille Pissarro\u2014the unassuming master who trained an entire generation<\/a> \u2014a portrait of the painter.<\/li>\n\n\n\n<li><a href=\"https:\/\/horscadre.paris\/bergere-pissarro\/\">*La Berg\u00e8re*\u2014the Pissarro painting that took twenty-nine years to sell<\/a> \u2014is the other major work by Pissarro featured on *Hors Cadre*, complementing the artist\u2019s career.<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\"><em>\u2014 M<\/em><\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Paris, February 10, 1897. A sixty-six-year-old man with a thick white beard goes up to a room on the first floor of the Grand H\u00f4tel de Russie, located at 1 rue Drouot, on the corner of Boulevard des Italiens. His name is Camille Pissarro. He has just left his home in \u00c9ragny-sur-Epte, 72 kilometers north&#8230;<\/p>\n","protected":false},"author":1,"featured_media":1470,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[36],"tags":[],"salle":[25],"class_list":["post-1468","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-masterpieces","salle-1851-1900"],"acf":[],"taxonomy_info":{"category":[{"value":36,"label":"Masterpieces"}],"salle":[{"value":25,"label":"1851-1900"}]},"featured_image_src_large":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro-1024x827.jpg",1024,827,true],"author_info":{"display_name":"admin5462","author_link":"https:\/\/horscadre.paris\/en\/author\/admin5462\/"},"comment_info":0,"category_info":[{"term_id":36,"name":"Masterpieces","slug":"masterpieces","term_group":0,"term_taxonomy_id":36,"taxonomy":"category","description":"","parent":0,"count":81,"filter":"raw","cat_ID":36,"category_count":81,"category_description":"","cat_name":"Masterpieces","category_nicename":"masterpieces","category_parent":0}],"tag_info":false,"uagb_featured_image_src":{"full":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro.jpg",1920,1550,false],"thumbnail":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro-150x150.jpg",150,150,true],"medium":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro-300x242.jpg",300,242,true],"medium_large":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro-768x620.jpg",768,620,true],"large":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro-1024x827.jpg",1024,827,true],"1536x1536":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro-1536x1240.jpg",1536,1240,true],"2048x2048":["https:\/\/horscadre.paris\/wp-content\/uploads\/2026\/05\/Boulevard-Montmartre-Camille-Pissaro.jpg",1920,1550,false]},"uagb_author_info":{"display_name":"admin5462","author_link":"https:\/\/horscadre.paris\/en\/author\/admin5462\/"},"uagb_comment_info":0,"uagb_excerpt":"Paris, February 10, 1897. A sixty-six-year-old man with a thick white beard goes up to a room on the first floor of the Grand H\u00f4tel de Russie, located at 1 rue Drouot, on the corner of Boulevard des Italiens. His name is Camille Pissarro. He has just left his home in \u00c9ragny-sur-Epte, 72 kilometers north...","_links":{"self":[{"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/posts\/1468","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/comments?post=1468"}],"version-history":[{"count":2,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/posts\/1468\/revisions"}],"predecessor-version":[{"id":1474,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/posts\/1468\/revisions\/1474"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/media\/1470"}],"wp:attachment":[{"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/media?parent=1468"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/categories?post=1468"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/tags?post=1468"},{"taxonomy":"salle","embeddable":true,"href":"https:\/\/horscadre.paris\/en\/wp-json\/wp\/v2\/salle?post=1468"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}