View of l'Hermitage at Pontoise 1867

Editor: Here we have Camille Pissarro's "View of l'Hermitage at Pontoise," created in 1867 using oil paint. I am struck by how grounded it feels, the weight of the buildings and the earth itself seems really emphasized. What draws your eye? Curator: I see the intense labor embedded in this "View." Note how Pissarro renders the buildings almost secondary to the cultivated fields, focusing on the land and its yield. Consider the materiality of the painting itself: the thick application of oil paint mimicking the dense earth being worked. The very process challenges a clear distinction between art and production. Editor: So, it's about showing the means of survival, and how closely intertwined the people were with the landscape? Curator: Exactly. Reflect on how this rural scene contrasts with contemporary academic paintings depicting grand historical events or idealized landscapes. Pissarro showcases everyday labor, a radical act of social realism. What do you make of the brushstrokes? Editor: They seem… unfinished? Not as polished as paintings I'm used to seeing from this period. Curator: Precisely. Pissarro’s visible brushstrokes disrupt the illusionism, reminding us of the artist’s hand, the labor of applying paint to canvas. The “unfinished” quality could be read as resistance to the refined aesthetics valued by the Salon system and instead prioritize honesty in materials and production. Editor: That makes sense. I hadn’t really considered the labor that goes into making a painting too, just the labour within the painting! Curator: Ultimately, the work invites reflection on what constitutes 'art' and challenges conventional class hierarchies that demean manual work. Now how do you feel knowing the intent behind the application of materials? Editor: That really makes me appreciate the painting a lot more. Thanks, this was enlightening!