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We Say Goodbye to Howard L. Rehs – Renowned New York Art Dealer

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Howard L. Rehs, President of Rehs Galleries, Inc.

Our hearts go out to the family and friends of Howard Rehs, President of Rehs Galleries. Howard passed away on November 19, 2025, at the age of 66, following a year-long battle with ALS.

Howard L. Rehs, President of Rehs Galleries, Inc., and one of the most respected authorities on 19th- and early 20th-century French academic art
Howard L. Rehs, President of Rehs Galleries, Inc., and one of the most respected authorities on 19th- and early 20th-century French academic art

“Howard Rehs was not only a delightful conversationalist, generous colleague, enthusiastic supporter of living artists, and widely respected leader in the gallery sector, but also a devoted champion of the unjustly forgotten 19th-century artists he worked hard to highlight through research, publications, and exhibitions,” shared Peter Trippi, Editor-in-Chief of Fine Art Connoisseur.

“His contributions to our collective understanding of 19th-century French and American painting were truly impactful and will be appreciated by scholars and collectors everywhere for decades to come. Those of us who knew Howard personally will miss him very much, and we extend all our sympathy to his remarkable family at this difficult time. It is heartening to know that, through the gallery, they will carry on the important work Howard loved so much.”

From the Gallery:

Born on July 1, 1959, Howard grew up surrounded by a deep appreciation for art and the business that would later define his life. He graduated from New York University with a degree in Art History, a decision that shaped not only his career but the direction of the gallery his family had built.

In 1981, Howard joined the family business, and quickly became a driving force behind its evolution. He became President and began shaping the gallery into what it is recognized as today, one of New York’s most distinguished dealers of 19th- and early 20th-century European academic and realist paintings. His curatorial vision, scholarship, market insight, and commitment to transparency earned him an international reputation for integrity and expertise.

Howard’s passion for French Academic art was unmatched. Over the course of his career, he became the world’s leading authority on the works of Antoine Blanchard, Émile Munier, Daniel Ridgway Knight, and Julien Dupré, authoring catalogues raisonnés and contributing significant scholarship to the field. Collectors, researchers, and institutions from around the world routinely turned to him for his trusted knowledge, counsel, and authentication.

More than a scholar and art dealer, Howard was a mentor to countless artists, colleagues, and young professionals who credit him with shaping their understanding of art, business, and ethics. His sharp wit, unwavering honesty, and contagious enthusiasm left an impression on everyone he encountered, from first-time art buyers to the most seasoned curators.

Howard is survived by his devoted wife, Amy Rehs; his children Lance Rehs and Alyssa Boggia, his son-in-law Adam Boggia, and his grandchildren Theadora and Bennett, who were the light of his later years. He is also survived by his parents Ann and Joseph Rehs, his sister Sheryl Rehs, his brother Alan Rehs and sister-in-law Michelle Rehs, as well as extended family, friends, colleagues, and the many artists and collectors whose lives he touched.

To the art world, Howard was a trailblazer and an encyclopedic resource. To his family, he was a devoted husband, a fiercely loving father, and a grandfather whose greatest joy was seeing the world through his grandchildren’s eyes. To those lucky enough to know him personally, he was genuine, generous, and always the first to show up for the people he cared about.

The family asks that donations be made to The Howard L. Rehs Fund for ALS Research, established in his honor so that no family or individual has to face the devastating weight of ALS alone.

Howard’s legacy will endure in the works of art he championed, the careers he nurtured, the artist he educated, the gallery he shaped, and the family he loved beyond measure.

Rehs Galleries will continue operating in the tradition he built, guided by his standards of scholarship, trust, and passion for the humanities.

Of Light and Air: Winslow Homer in Watercolor

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Winslow Homer watercolors (1836–1910), "The Blue Boat," 1892, watercolor over graphite pencil on paper, 15 3/16 x 21 1/2 in., Museum of Fine Arts, Boston
Winslow Homer (1836–1910), "The Blue Boat," 1892, watercolor over graphite pencil on paper, 15 3/16 x 21 1/2 in., Museum of Fine Arts, Boston

On View > Winslow Homer Watercolors

OF LIGHT AND AIR: WINSLOW HOMER IN WATERCOLOR
Museum of Fine Arts, Boston
Boston, MA
mfa.org
Through January 19, 2026

The Museum of Fine Arts, Boston (MFA) houses the world’s largest collection of watercolors by the American artist Winslow Homer (1836–1910), who transformed this challenging medium through his relentless spirit of experimentation. Their sensitivity to light means they have not been displayed together in nearly half a century, and so this season’s exhibition, “Of Light and Air: Winslow Homer in Watercolor,” will be a revelation to a new generation of fans.

On view are nearly 50 watercolors alongside a selection of related oils, drawings, and prints. Homer’s luminous views bring viewers along on his many travels through the rugged Maine coast, Adirondack Mountains, seaside England, and sun-drenched Caribbean, and the exhibited pieces will range from childhood drawings all the way to his final canvas, which he left unfinished.

In 1894, the MFA became one of the first museums to acquire a painting by Homer, “Fog Warning” (1885), and its first watercolor, “Leaping Trout” (1892), came into the collection soon after. Over the 20th century the museum amassed almost 50 more of his watercolors and 11 oil paintings.

Writer Henry James famously described Homer as an artist “who sees everything at once with its envelope of light and air” — a fitting description of a painter who utilized the unique qualities of watercolor to capture the ephemeral, fleeting nature of his subject matter.

This show will travel onward to the Museum of Fine Arts, Houston, where it will appear from June 13 through September 19, 2027.


Join us for Watercolor Live, taking place January 21-23, 2026, with an optional Essential Techniques Day on January 20. Visit WatercolorLive.com for the all-star faculty lineup!​

Virtual Gallery Walk for November 21st, 2025

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Backlit Bouquet, Laurie Hendricks, oil on canvas board, 12 x 9 in.; Laurie Hendricks Art

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Hiking in After the Storm – Little Lake Valley, Marian Fortunati, oil on canvas, 24 x 30 in, Marian Fortunati Fine Art

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

Echoes of Yosemite

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PAUL KRATTER (b. 1956), El Capitan Revealed, 2025, oil on linen panel, 20 x 24 in., available through the artist
Paul Kratter (b. 1956), "El Capitan Revealed," 2025, oil on linen panel, 20 x 24 in., available through the artist

Saint Mary’s College Museum of Art is presenting the exhibition “Echoes of Yosemite,” which celebrates the majestic landscapes of Yosemite National Park and the Sierra Nevada mountains. Endowed with rugged cliffs, serene valleys, and abundant wildlife, these places have long been admired by artists. This innovative show compares and contrasts depictions from two eras: the renowned paintings of William Keith (1838–1911), and recent interpretations by current members of the California Art Club.

Keith was a Scottish-American landscapist famous for evocative scenes of the American West, particularly California. After immigrating to the U.S., he settled in San Francisco, where he became a central figure in the region’s art world. Keith’s earlier detailed manner reflects influences of the Hudson River School, while his later style embraces atmospheric tonal qualities borrowed from romanticism and the Barbizon School. He was a good friend of naturalist John Muir, with whom he shared a deep reverence for the wilderness. Their worldview is reflected in Keith’s dramatic scenes, which played a key role in shaping the visual identity of California and the American West.

Founded in 1909, the California Art Club is a nonprofit educational organization that promotes and supports contemporary-traditional fine art. The organizers of this exhibition received more than 500 submissions for just 45 spots. Among the talented CAC members selected are Cliff Barnes, Barbara Brown, Larry Cannon, Al Carlson, William Cone, Bonnie Joy Dedlak, Jessica de Jesus, Rick J. Delanty, Sandy Delehanty, Dennis Durrell, Mardilan Lee Georgio, Bradley W. Giles, Meisha Grichuhin, Carolyn Hesse-Low, Ellen Howard, Richard Humphrey, Roberto Jaramillo, Yifan Jia, Thomas Jefferson Kitts, Paul Kratter, Shirley Lehner-Rhoades, Richard Lindenberg, Carolyn Lord, Kim Lordier, JV Magoon, Adam Matano, James McGrew, Jim McVicker, Terry Miura, Olena Nabilsky, Susan Otten, Erika Perloff, Nadalena Radis-Cobbs, Radha Rao, Diane Rodriguez, Timon Sloane, Barbara Tapp, London Vale, Laura Wambsgans, Renae Wang, Nina Warner, and Karen Winters.

Echoes of Yosemite
Saint Mary’s College Museum of Art
Moraga, California
stmarys-ca.edu
through December 14, 2025

At $236.4 Million, Klimt Breaks Record

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The Gustav Klimt painting “Portrait of Elisabeth Lederer” sold this week at Sotheby’s in New York for a staggering $236.4 million, making it the second most expensive artwork ever sold at auction, an extraordinary sale that underscores Klimt’s enduring allure.

Gustav Klimt, "Bildnis Elisabeth Lederer," 1914-16, Oil on canvas, 180.4 x 130.5 cm
Gustav Klimt, “Bildnis Elisabeth Lederer,” 1914-16, Oil on canvas, 180.4 x 130.5 cm

More from the auction house:

This enthusiasm for Klimt’s work was also reflected in the great interest shown in the two studies of Adele Bloch-Bauer. With impressive sale results of $520,000 and $480,000, the two drawings significantly surpassed their pre-sale estimates, offering clear proof of the continuing fascination with the artist’s work. While Klimt’s paintings often dominate headlines, his drawings are increasingly recognized as powerful, collectible works in their own right.

Gustav KlimtReclining Woman, 1912/13 Pencil on paper, 368 x 563 mm (14,5 x 22 in)
Gustav Klimt, “Reclining Woman,” 1912/13, Pencil on paper, 368 x 563 mm
Gustav KlimtStudy for the portrait of Adele Bloch Bauer, 1903 Pencil on paper, 445 x 308 mm (17,5 x 12 in)
Gustav Klimt, “Study for the portrait of Adele Bloch Bauer,” 1903, Pencil on paper, 445 x 308 mm

From W&K: Gustav Klimt was born on July14, 1862 in Baumgarten near Vienna. Klimt not only had a leading influence on “Vienna around 1900,” but also influenced later generations of artists. As one of the most famous representatives of Modern Art and founding member of the Vienna Secession, he is until today one of the most important Austrian painters today.

For more information or to submit an inquiry, please visit:
https://www.w-k.art/artists/gustav_klimt

View fine art auctions, exhibitions, and more events by the month on our calendar page at FineArtConnoisseur.com – updated daily!

Fine Art News ~ Also Worth Noting

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In addition to our featured stories, Fine Art Today includes brief highlights of noteworthy happenings in the art world — from exhibition announcements to news items and artist updates. Designed to keep you in the loop with what’s new and noteworthy while offering a quick snapshot of the fine art landscape, this is your at-a-glance guide to what’s catching attention across studios and galleries everywhere.

November 18, 2025

  • The Rockport Art Association & Museum in Massachusetts is hosting its National Juried Show with 150 works selected by Cindy Baron; on view through December 31.
  • The North American tour of the exhibition “Timeless Mucha: The Magic of Line,” which reappraises the Czech artist Alphonse Mucha (1860–1939) launched this week. The project’s schedule is: Boca Raton Museum of Art, Florida (November 19, 2025–March 1, 2026); Nelson-Atkins Museum of Art, Kansas City (April 11–August 30, 2026); and Museo Kaluz, Mexico City (October 8, 2026–February 8, 2027).
  • The Idaho Art Gallery recently opened a new venue in Boise, celebrating regional and national artists.

November 13, 2025

  • The University of California, Irvine has completed its acquisition of the Orange County Museum of Art, officially bringing together two renowned institutions under a shared vision of public access, scholarship and cultural engagement. The resulting entity is now named the UC Irvine Langson Orange County Museum of Art. [more info]
  • On view through November 20 at Meyer Gallery in Santa Fe, Kim English’s “People and Places” studies light in the everyday. His paintings focus on brief scenes observed from life, rendered with confident brushwork and a clear sense of atmosphere.
  • Through December 20, “Don Hershman: Still | Still” is on view at on view at Wessling Contemporary in San Francisco. Hershman delves into themes of mortality, the impermanence of beauty, and the quiet power of time.

Michele Usibelli on the Shared Journey of Art

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Contemporary Impressionist painter Michele Usibelli
Contemporary Impressionist painter Michele Usibelli

Contemporary impressionist painter Michele Usibelli has recently come out with a new art video workshop, titled Ignite Creativity: Oil Painting with Energy. Here, she shares her inspiration and gratitude for this shared life of art.

"Wild Daisies," oil, 20 x 16 in.
Michele Usibelli, “Wild Daisies,” oil, 20 x 16 in.

“I’m endlessly grateful for the collectors who have supported me and believed in my work through every stage of my art journey,” Michele says. “Your encouragement has allowed me to grow, to explore, and to refine a voice that feels true to who I am—one that I hope stands out and connects from across the room. Each painting I create carries a piece of that shared journey, and I never take for granted the trust you’ve placed in me and my vision.”

Michele Usibelli, "Avalon Harbor at Dusk," oil, 16 x 20 in.
Michele Usibelli, “Avalon Harbor at Dusk,” oil, 16 x 20 in.

“To the artists who follow my work and join my workshops—you inspire me every day,” Michele adds. “Teaching and sharing what I’ve learned is one of the greatest joys of my career, and I see it as my way of giving back to the creative community that continues to lift me up. Watching you grow, experiment, and find your own artistic voice is incredibly fulfilling, and I’m honored to be a small part of that process. Thank you all for being part of this amazing art adventure with me.”

"After Dinner," oil, 20 x 16 in.
Michele Usibelli, “After Dinner,” oil, 20 x 16 in.

My works are a celebration of art, growth, and the shared creative spirit that connects us all.

Michele Usibelli, "Autumn Currents," oil, 30 x 30 in.
Michele Usibelli, “Autumn Currents,” oil, 30 x 30 in.

Current Exhibition:

“Concept to Canvas: Six Contemporary Artists”
Booth Western Art Museum
Cartersville, Georgia
www.boothmuseum.org
Through March 15, 2026

The artist at work
The artist at work

Connect with the artist at www.micheleusibelli.com.

View more artist and collector profiles here at FineArtConnoisseur.com.

A Contentious Legacy: Paintings from Soviet Ukraine

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Natalia Korobova, "Noon," 1970, Oil on canvas, Mead Art Museum. Gift of the Jurii Maniichuk and Rose Brady Collection.
Natalia Korobova, "Noon," 1970, Oil on canvas, Mead Art Museum. Gift of the Jurii Maniichuk and Rose Brady Collection.

Art Exhibition: “A Contentious Legacy: Paintings from Soviet Ukraine”
Through January 4, 2026
Amherst College
Amherst, Massachusetts
www.amherst.edu

From the organizers:

“A Contentious Legacy” engages with the visual culture of Soviet Ukraine and showcases paintings, which were created between the 1960s and 1980s and displayed at official state-sponsored exhibitions of the era. The project explores the stylistic diversity as well as universally Soviet and uniquely Ukrainian dimensions of this legacy. Its ambiguous position between art and propaganda prompts an examination of the extent of genuine expression and artistic integrity allowed by the state system of art production in Soviet Ukraine.

Soviet Ukraine art - Hryhorii Bonia, "Lenin in Shushenskoe Village," 1985, Oil on canvas. The Museum of Russian Art, Minneapolis. Gift of the Jurii Maniichuk and Rose Brady Collection.
Hryhorii Bonia, “Lenin in Shushenskoe Village,” 1985, Oil on canvas. The Museum of Russian Art, Minneapolis. Gift of the Jurii Maniichuk and Rose Brady Collection.

The exhibition marks the Mead’s inaugural presentation of paintings from the Maniichuk-Brady collection, acquired in 2020. Jurii Maniichuk was a Ukrainian American lawyer who lived and worked in Kyiv in the 1990s, shortly after the fall of the Soviet Union. As art from the Soviet period became obsolete in the newly independent Ukraine, many works—not only of minor artistic value but also top-tier ones—faced the risk of being lost, damaged or destroyed. Maniichuk made it his mission to preserve the finest pieces he could find across the country. With the help of expert art historians and critics, he acquired nearly 180 large-scale paintings that illustrated the thematic and stylistic diversity of the official art of late Soviet Ukraine. Today, the Mead hosts a portion of this collection, with the Georgia Museum of Art in Athens and the Museum of Russian Art in Minneapolis being other stewards. A Contentious Legacy brings together eleven paintings housed at the Mead with eight works traveling from Minneapolis.

Ivan Shapoval, "Morning of My City (Sumy)," 1975, Oil on canvas. Mead Art Museum. Gift of the Jurii Maniichuk and Rose Brady Collection.
Ivan Shapoval, “Morning of My City (Sumy),” 1975, Oil on canvas. Mead Art Museum. Gift of the Jurii Maniichuk and Rose Brady Collection.

The majority of the featured paintings were created by artists from places that have been severely affected by, or occupied during, the ongoing Russian invasion of Ukraine, including the regions of Kharkiv, Zaporizhzhia, Luhansk, and Donetsk. With the Soviet past being glorified and weaponized by the Russian government in its attempts to erase Ukraine’s identity, on the one hand, and many Soviet buildings and artworks being destroyed in Ukraine as collateral war damage, on the other hand, “A Contentious Legacy” reflects on the complex afterlives of this legacy in the present moment.

Soviet Ukraine art - Mykhailo Antonchyk, "Triumph of Women," 1965, Oil on canvas. The Museum of Russian Art, Minneapolis. Gift of the Jurii Maniichuk and Rose Brady Collection.
Mykhailo Antonchyk, “Triumph of Women,” 1965, Oil on canvas. The Museum of Russian Art, Minneapolis. Gift of the Jurii Maniichuk and Rose Brady Collection.

View fine art auctions, exhibitions, and more events by the month on our calendar page at FineArtConnoisseur.com – updated daily!

Virtual Gallery Walk for November 14th, 2025

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Friday Virtual Gallery Walk

As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Along Taylor Creek Trail, Roland Lee, watercolor, 14 x 22 in, Roland Lee

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Patagonia Woods, Freya Grand, oil on canvas, 60 x 48 in.; Freya Grand

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Silence Uplifts Our Soul, Kathleen Kalinowski, oil on linen, 24 x 24 in.; Kathleen Kalinowski

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Precipice, Lee Copen, oil on linen, 24 x 36 in.; Lee Copen

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

The Honest Eye: Camille Pissarro’s Impressionism

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Camille Pissarro, "Hoar-Frost, Peasant Girl Making a Fire (Gelée blanche, jeune paysanne faisant du feu)," 1888. Oil on canvas; 36 1/2 × 36 3/8 in. Hasso Plattner Collection at the Museum Barberini. Image courtesy akg-images/Laurent Lecat
Camille Pissarro, "Hoar-Frost, Peasant Girl Making a Fire (Gelée blanche, jeune paysanne faisant du feu)," 1888. Oil on canvas; 36 1/2 × 36 3/8 in. Hasso Plattner Collection at the Museum Barberini. Image courtesy akg-images/Laurent Lecat

The Denver Art Museum is presenting a major exhibition of works by Camille Pissarro (1830–1903) that provides an overview of the artist’s illustrious career and examines his singular role within the Impressionist movement. “The Honest Eye: Camille Pissarro’s Impressionism” is the first major U.S. museum retrospective of the artist’s oeuvre in more than four decades.

Co-organized by the DAM and the Museum Barberini in Potsdam, Germany, the exhibition brings together more than 80 paintings from nearly 50 international museums and private collections, alongside six works from the DAM’s holdings. On view through February 8, 2026, The Honest Eye will feature landscapes, cityscapes, still lifes, and figure paintings, showcasing the breadth of Pissarro’s oeuvre and the various influences that shaped his practice as he responded to the social and political environment of the day.

Camille Pissarro, Self-Portrait (autoportrait), 1873. Oil on canvas; 21 7/8 × 18 1/8 in. Musée d’Orsay: Donation Paul-Emile Pissarro, 1930. Image courtesy akg-images/Laurent Lecat
Camille Pissarro, Self-Portrait (autoportrait), 1873. Oil on canvas; 21 7/8 × 18 1/8 in. Musée d’Orsay: Donation Paul-Emile Pissarro, 1930. Image courtesy akg-images/Laurent Lecat

“Through this exhibition, we hope visitors will explore Pissarro’s ability to capture everyday life in a way that elevates the mundane, while understanding the pivotal role he played in shaping the Impressionist movement,” said Christoph Heinrich, Frederick and Jan Mayer Director. “After our successful collaboration for ‘Claude Monet – The Truth of Nature’ in 2019, we’re thrilled to partner with the Museum Barberini again to bring important examples of Pissarro’s work to audiences in the U.S., including significant international loans, some of them have never been shown in this country before.”

Camille Pissarro, "The Garden of Les Mathurins, property of the Deraismes Sisters, Pontoise (Le Jardin des Mathurins, Pontoise, propriété des soeurs Deraismes)", 1876. Oil on canvas; 44 5/8 × 65 1/8 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri: Purchase: William Rockhill Nelson Trust. Image courtesy akg-images / De Agostini Picture Lib. / J. E. Bulloz
Camille Pissarro, “The Garden of Les Mathurins, property of the Deraismes Sisters, Pontoise (Le Jardin des Mathurins, Pontoise, propriété des soeurs Deraismes)”, 1876. Oil on canvas; 44 5/8 × 65 1/8 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri: Purchase: William Rockhill Nelson Trust. Image courtesy akg-images / De Agostini Picture Lib. / J. E. Bulloz

Born on the island of St. Thomas in what was then the Danish West Indies (now the U.S. Virgin Islands) to French Jewish parents, Pissarro spent time in Caracas and La Guaira, Venezuela, before settling in Paris in 1855. There, he became acquainted with a group of young artists who were challenging the traditional modes of painting and would eventually go on to birth the Impressionist movement. A versatile artist, Pissarro embodied the role of insider, contributing to the establishment of Impressionism as a coherent avant-garde phenomenon while maintaining his artistic independence as he eschewed his peers’ choice of upper-class subject matter to depict scenes of the mundane. The Honest Eye reflects this dichotomy, while selections from Pissarro’s letters provide insights into his artistic process and worldview more broadly.

Camille Pissarro, "Hoar-Frost at Ennery (Gelée blanche à Ennery)," 1873. Oil on canvas. 25 3/4 × 36 3/4 in. Musée d'Orsay: Legs Enriqueta Alsop au nom du Dr. Eduardo Mollard, 1972. Image courtesy akg-images / De Agostini Picture Lib. / G. Dagli Orti
Camille Pissarro, “Hoar-Frost at Ennery (Gelée blanche à Ennery),” 1873. Oil on canvas. 25 3/4 × 36 3/4 in. Musée d’Orsay: Legs Enriqueta Alsop au nom du Dr. Eduardo Mollard, 1972. Image courtesy akg-images / De Agostini Picture Lib. / G. Dagli Orti

“Pissarro was a true architect of the impressionist movement. His colleague and friend Cezanne called him ‘the first impressionist.’ The only artist to present work at all eight Impressionist exhibitions in Paris, Pissarro was a defining figure whose oeuvre captured a changing society in the throes of industrialization, straddling the rural and urban in his depictions of daily life,” said Clarisse Fava-Piz, Associate Curator of European and American Art before 1900.

The exhibition traces four decades of Pissarro’s career, illustrating the evolution of his practice from his early years in the Caribbean and South America, to his time in Paris at the dawn of the Impressionist movement, to his family life in Éragny, and his later years depicting the cities and harbors of northern France.

For more information, visit www.denverartmuseum.org.

View fine art auctions, exhibitions, and more events by the month on our calendar page at FineArtConnoisseur.com – updated daily!

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