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 (pĭ-sär′ō, pē-), Camille 1830-1903.
French impressionist painter known for rural scenes, including Orchard in Blossom (1872).
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(pɪˈsɑːrəʊ; French pisaro)
(Biography) Camille (kamij). 1830–1903, French impressionist painter, esp of landscapes
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(pɪˈsɑr oʊ)

Camille, 1830–1903, French painter.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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They talked of the places they had been to in the summer, of studios, of the various schools; they mentioned names which were unfamiliar to Philip, Monet, Manet, Renoir, Pissarro, Degas.
Tiepolo's Hound soberly affirms art, inspiration, creativity, historical awareness, personal introspection, and the necessity to honor the ordinary -- that dimension of lived experience which Walcott values highly in Pissarro's paintings, in the leg of Tiepolo's hound, in the canoes, leaves, rocks of his own paintings -- in language of extraordinary beauty, precision, and power: "the ordinary is the miracle.
This is not surprising, as he is the great- grandson of Camille Pissarro, one of the founders of Impressionism and the progenitor of no less than seventeen artists.
The painting, "Boulevard Montmartre, Spring 1897" by Jewish master Camille Pissarro, was donated to the museum several years ago, and has been displayed there for the past two years.
The impressionist movement is denigrated these days for its complicity with bourgeois leisure: Pissarro, Gauguin, and Manet stand accused of absconding from class politics to the false idyll of the countryside, the primitive, and the picnic.
And Hutton reminds those tempted to dismiss this as intellectual posturing that Maximilien Luce was rounded up for the Proces des Trente, in 1894, while Pissarro, Steinlen, Mirbeau and Adam left the country to avoid arrest.
Toward the end of my day at the Metropolitan Museum of Art, I fought against a current of bodies just to reach the Pissarro room, in the new 19th Century Painting Wing.
The exhibition had been recommended by artist friends of Vollard, including Renoir and Pissarro.
Born in the Virgin Islands, and intended by his family for a career in business, Pissarro finally convinced his father of his absorbing interest in painting and went to Paris at the age of twenty - five.
In the same year, he struck a deal with Mme Pissarro for her husband's Peasants Planting Pea Sticks (1891; Fig.