Back Cover book image of Abstract Pissarro by author, Ann Saul, about French artist, Camille Pissarro.  Joachim Pissarro (co-author, Pissarro: Critical Catalogue of Paintings, 2005).

ABSTRACT PISSARRO shows why this well-loved Impressionist artist was much more than we imagined!  Camille Pissarro’s early paintings, daring, radical, and uncompromising, defied the Paris Salon and subverted academic art—flaunting his rough brushstrokes, blatantly placing pure colors side-by-side, choosing unappealing motifs, creating forms from patches of color, flattening structures, and ignoring perspective when it pleased him. He was the first to intentionally draw attention to the materiality of painting—brushstrokes on canvas, rather than a recognizable picture. And he did it before Impressionism. The new research presented in ABSTRACT PISSARRO reveals Camille Pissarro’s principal role in the birth of modern art. It explores his continual innovation and daring use of new ideas. Comparing his paintings with other artists shows how he influenced them and continues to inspire artists to this day. Indeed, Camille Pissarro was the first to plant the seeds of what we now call abstract art.

Back Cover

Joachim Pissarro (co-author, Pissarro: Critical Catalogue of Paintings, 2005)

"Abstract Pissarro sheds new light on Camille Pissarro’s innovative and rich painting techniques, highlighting in unparalleled words his role in the birth of modern art. Ann Saul explores, in depth, Pissarro’s continual experimentation and adaptation of new ideas and lays out how artists to this day have continued to be inspired by his work. This book provides a radical and fresh look at art history."

Claire Durand-Ruel Snollaerts (co-author, Pissarro: Critical Catalogue of Paintings, 2005)

"Ann Saul has a very strong knowledge of the artist’s life and œuvre and a very accurate and sensitive eye."


The End of Art History” by David Carrier, Hyperallergic, September 26, 2020

“Using generously full illustrations, Saul argues that often [Pissarro’s] works focus our attention on the materiality of painting, the physical medium of the pigment, rather than on its subjects.”

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