View of Pontoise (Vue de Pontoise) by Camille Pissarro

View of Pontoise (Vue de Pontoise) 1885

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drawing, print, etching

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drawing

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print

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impressionism

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etching

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landscape

Dimensions: plate: 15.7 x 24.4 cm (6 3/16 x 9 5/8 in.) sheet: 27.2 x 36.4 cm (10 11/16 x 14 5/16 in.)

Copyright: National Gallery of Art: CC0 1.0

Editor: So, this is Camille Pissarro’s etching, "View of Pontoise," from 1885. It's an impressionistic landscape. The scene feels quiet, a bit melancholy even, despite all that’s going on with the smoking chimneys. What stands out to you? Curator: It’s fascinating, isn't it? Pissarro was constantly experimenting. Notice how he balances the industrial and the natural – those plumes of smoke juxtaposed against the skeletal trees. For me, this etching embodies a fleeting moment in time, a town caught between tradition and progress. Do you get a sense of how radical that must have felt in the late 19th century? Editor: Definitely! It's a picture of change, both beautiful and unsettling. The etching technique makes it feel immediate and almost…unfinished, right? Not smooth or polished at all. Curator: Precisely! That "unfinished" quality *is* the point, in a way. It embraces the impermanence of life. Consider how the very act of etching mirrored Pissarro's intention - the biting of the acid, leaving its mark, creating an image both strong and delicate. I also love the compositional balance. That hillside and those scraggly branches offer the eye a chance to pause from the more obviously industrialized part. Don't you think? Editor: I do. Now that I look closer, there *is* a strange sense of harmony. It’s like Pissarro found the beauty in this moment of transformation. The smokestacks almost echo the church tower. Curator: Beautifully said! He’s hinting, isn’t he, at something essential about being human—how we shape the world and how the world inevitably shapes us. And of course, even those smoke stacks end up contributing to something almost…sublime. Editor: Wow. I’d never thought about it that way, that even the industry can hold a beauty, especially caught at a single, fragile moment. Curator: Pissarro gives us permission to look for it, doesn't he? And to reconsider what’s normally seen as ugliness. Art in the everyday – the messy, evolving everyday. I will remember that for long time, for sure!

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