Lordship lane station dulwich pissarro biography

date QS:P571,+1871-00-00T00:00:00Z/9

medium QS:P186,Q296955;P186,Q12321255,P518,Q861259

dimensions QS:P2048,44.5U174728

dimensions QS:P2049,72.5U174728

institution QS:P195,Q734266

Courtauld Institute of Art

P.1948.SC.317

Signature and date bottom right:

C. Pissarro 1871

Jacob Abraham Camille Pissarro (piss-AR-oh; French:[kamijpisaʁo]; 10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.

In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality". Paul Cézanne said "he was a father for me. A man to consult and a little like the good Lord", and he was also one of Paul Gauguin's masters. Pierre-Auguste Renoir referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur".

Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, Cézanne, Seurat, Gauguin, and van Gogh.

Former railway station in England

Lordship Lane was a railway station in East Dulwich, in what was the Metropolitan Borough of Camberwell in south London, on the Crystal Palace and South London Junction Railway. It was opened by the London, Chatham and Dover Railway (LCDR) on 1 September 1865 and took its name from Lordship Lane, the thoroughfare on which it stood.

In 1925 the line, now part of the Southern Railway, was electrified and the platform extended to allow for the new electric trains. At this time the signal box also closed.

It was situated a short distance from a rival London, Brighton and South Coast Railway (LBSCR) station named Forest Hill, which survives. The land was owned by the Dulwich Estate. and is near the Horniman Museum. The Dulwich Estate required higher architectural standards than elsewhere on the line. The road bridge was "elaborately ornamented" and the station building had two gabled roofs. In 1930, even though the line was electrified, the lighting on the platform was still lit by gas.

On one day in February 1926 only 366 passengers travelled from Lordship Lane towards Crystal Palace and 401 travelled towards central London. If you look at tickets issued in 1925 there were 30,043 tickets issued, and 870 season tickets issued. In 1934 this had increased to 57,019 tickets and 1,742 season tickets.

It was closed during the First World War between January 1917 and March 1919 and again during the Second World War in May 1944 after it suffered heavy bomb damage during the Blitz. The station was repaired and temporarily reopened in March 1946.

Lordship Lane station was permanently closed, along with the rest of the line, on 20 September 1954. The railway crossed London Road (just beyond the southern end of Lordship Lane itself) on a bridge and the station was just to the southwest of the road. The statio

Camille Pissarro's modestly named painting Lordship Lane Station, Dulwich occupies a corner site in one of the grandiose rooms at the Courtauld Gallery in London, which used to house the Royal Academy until that institution moved into Burlington House on Piccadilly in the 19th century. On display in this room and the adjacent gallery are some of the greatest works of Impressionism by Cézanne, Renoir, Gauguin, Manet, Toulouse-Lautrec and others. Pissarro's painting is also modest in title – it's more of a quick notation than a title – modest in size, and modest in subject matter. It seems aptly sited in this corner. It doesn't want, we feel, to make much of a play of being there.

This question of size is an interesting one in general. Impressionist paintings were quite often almost disappointingly small and less impressionant as physical objects than you would want them to be. (They were so different from, say history painting, which impressed by the sheer acreage of wall space it often demanded in order to tell its world-changing stories, and to show off its world-dominating statesmen.) This is quite understandable from a practical point of view. They were often painted out of doors, amid the full force of the elements, and physically handling a canvas in the open air is no mean feat – as Monet discovered when he tried to paint the cliffs at Etretat. Seldom has a painter been so buffeted about in the cause of art.

Pissarro's painting is a very typical view of south London in 1871. It is, you might say, a painting without much of a subject matter – and this too is typical of the Impressionists. Their concern to capture the effects of light meant that the subject needn't be of much moment – a modest barn or a meadow or a stream would serve much better than a grandiose chateau. Why introduce the distraction of self-important buildings? Nothing much is happening in Pissarro's painting – well, not