These friends, later joined by others such as Degas and Renoir, shared painting techniques, collaborated on projects, and encouraged each other when their work was rejected by art critics. There were points in which almost all the members of their group would be refused by the Salon, while a few were accepted. “Pissarro became…opposed to the standards of the École des Beaux-Arts and the Academy throughout the 1860s, and he occasionally took part in lively debates with younger artists such as Monet and Renoir...Although he showed his work at the Paris Salon, he and his colleagues came increasingly to recognize the unfairness of the Salon’s jury system as well as the disadvantages relatively small paintings such as their own had at Salon exhibitions.” At the time, the artists did not have opportunity to react against the Salon, as the Franco-Prussian War had just broken out. Pissarro, as well as other artists, fled to Britain to wait out the war. However, when they returned to Paris, they were prepared to open the first Impressionist Exhibition outside of the Salon’s influence. During the Franco-Prussian war, Pissarro had needed to leave his hundreds of paintings behind.
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When he returned, the vast majority of them were destroyed by soldiers, but he and his friends quickly rallied and began creating more. He gathered fifteen other artists, including Cézanne, and taught them how to paint directly nature in plein air. This changed the way these artist viewed and approached art, particularly Cézanne. “Later, in 1902, he said of his mentor: “As for old Pissarro, he was a father to me, a man to consult and something like the good Lord.” It was during this time that Pissarro shifted from role of the mentee, although he continued to learn new art styles throughout his life, to a mentor. Many of his contemporaries considered him a father, teacher, and friend. This influence in the lives of the other artists helped him convince his friends to work together and establish the first Impressionist exhibition. Monet and he gathered artists of similar styles together to form a charter about the goals and interests of the Impressionist group. Somewhat amusingly, the charter they created was based off of the local baker’s union charter. They worked together, with Pissarro typically acting as the mediator and go-between during conflicts, to create what would become known as the first Impressionist exhibition. As time passed they would have eight exhibitions in total, with Pissarro being the only artist to showcase his work at all eight. The critics were very disparaging, but Pissarro, more than many others, stubbornly stuck with the project and refused to use to Salon, despite terrible money troubles and deaths in the family. He mentored and patiently taught young artists, including Paul Gauguin, and kept up close relationships with Mary Cassatt and Degas. Eventually however, over the years the group drifted apart as interests changed and life circumstances shifted. Pissarro began to take in interest in Neo-Impressionism and Post-Impressionism so as to explore new styles and keep his work avant-garde. “Pissarro’s turning away from Impressionism contributed to the general decline of the movement, which he had influenced greatly.” Later, in the last years of his life, Pissarro abandoned Neo-Impressionism in favor of his old methods, but with, others artists and critiques agree, a new mastery. As he settled into a style that he loved and that others had an interest in buying, he continued to mentor others. His children took after him of course in artistic interests and he was able to give young Van Gogh advice on how to properly use light and color. Other artists viewed his changes of style and independence with respect. Even in his old age, Pissarro had a “profound belief in the benefits of what he called "enthusiasm" and "ardor"; a confidence that his love of work was strong enough to bolster his morale and keep him going; and an unshakable conviction that he had made the right choice... Pissarro remained committed to these values, which in turn later endowed "Père Pissarro" (Papa Pissarro) with a known mark of integrity that made others willingly turn to him for advice.” As is seen, Pissarro was an incredibly important artist who, using the experiences
When he returned, the vast majority of them were destroyed by soldiers, but he and his friends quickly rallied and began creating more. He gathered fifteen other artists, including Cézanne, and taught them how to paint directly nature in plein air. This changed the way these artist viewed and approached art, particularly Cézanne. “Later, in 1902, he said of his mentor: “As for old Pissarro, he was a father to me, a man to consult and something like the good Lord.” It was during this time that Pissarro shifted from role of the mentee, although he continued to learn new art styles throughout his life, to a mentor. Many of his contemporaries considered him a father, teacher, and friend. This influence in the lives of the other artists helped him convince his friends to work together and establish the first Impressionist exhibition. Monet and he gathered artists of similar styles together to form a charter about the goals and interests of the Impressionist group. Somewhat amusingly, the charter they created was based off of the local baker’s union charter. They worked together, with Pissarro typically acting as the mediator and go-between during conflicts, to create what would become known as the first Impressionist exhibition. As time passed they would have eight exhibitions in total, with Pissarro being the only artist to showcase his work at all eight. The critics were very disparaging, but Pissarro, more than many others, stubbornly stuck with the project and refused to use to Salon, despite terrible money troubles and deaths in the family. He mentored and patiently taught young artists, including Paul Gauguin, and kept up close relationships with Mary Cassatt and Degas. Eventually however, over the years the group drifted apart as interests changed and life circumstances shifted. Pissarro began to take in interest in Neo-Impressionism and Post-Impressionism so as to explore new styles and keep his work avant-garde. “Pissarro’s turning away from Impressionism contributed to the general decline of the movement, which he had influenced greatly.” Later, in the last years of his life, Pissarro abandoned Neo-Impressionism in favor of his old methods, but with, others artists and critiques agree, a new mastery. As he settled into a style that he loved and that others had an interest in buying, he continued to mentor others. His children took after him of course in artistic interests and he was able to give young Van Gogh advice on how to properly use light and color. Other artists viewed his changes of style and independence with respect. Even in his old age, Pissarro had a “profound belief in the benefits of what he called "enthusiasm" and "ardor"; a confidence that his love of work was strong enough to bolster his morale and keep him going; and an unshakable conviction that he had made the right choice... Pissarro remained committed to these values, which in turn later endowed "Père Pissarro" (Papa Pissarro) with a known mark of integrity that made others willingly turn to him for advice.” As is seen, Pissarro was an incredibly important artist who, using the experiences