Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Farm Women in a Meadow - Camille Pissarro
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A delicate colour etching and aquatint by Camille Pissarro, capturing the quiet rhythm of rural life in the French countryside.
This work, titled Paysannes à l'herbe, is a colour etching and aquatint by Camille Pissarro, produced in 1894. Pissarro, a central figure in the Impressionist movement, frequently turned his attention to the rural life of Eragny, where he lived for many years. The composition captures two women working in a field, framed by slender trees that draw the eye towards a distant farmhouse. A third figure is visible in the background, further grounding the scene in the daily rhythms of agricultural labour.
Technically, the print demonstrates Pissarro's interest in the experimental possibilities of printmaking. The artist utilised multiple plates to achieve the delicate colour layering, a process he explored with great rigour during the 1890s. The handwritten annotations at the bottom of the sheet, including the designation '5e état' (fifth state), reveal the iterative nature of his creative process. These notes provide a rare glimpse into the technical decisions made by the artist, such as the specific pigments employed to achieve the desired tonal balance.
The aesthetic quality of the piece relies on the interplay between the etched lines and the soft, atmospheric application of colour. Rather than relying on heavy outlines, Pissarro allows the forms to emerge from the textured surface of the paper. The palette remains grounded in natural tones, reflecting the light and atmosphere of the French countryside. This print offers an intimate perspective on Pissarro's dedication to capturing the dignity of rural workers through a medium that allowed for both precision and painterly expression. It is a fine example of late nineteenth-century printmaking, where the artist sought to bridge the gap between traditional techniques and the modern sensibilities of the Impressionist circle.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Complete The Look
Farm Women in a Meadow - Camille Pissarro
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Camille Pissarro
Pissarro was the only Impressionist with a big police file. He was a lifelong anarchist, influenced by Kropotkin and Proudhon, and his conviction in the need for social revolution was not theoretical. He was also the only artist to show at all eight Paris Impressionist exhibitions, from 1874 to 1886. Nobody else managed that.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Artist Biography
Camille Pissarro
Pissarro was the only Impressionist with a big police file. He was a lifelong anarchist, influenced by Kropotkin and Proudhon, and his conviction in the need for social revolution was not theoretical. He was also the only artist to show at all eight Paris Impressionist exhibitions, from 1874 to 1886. Nobody else managed that.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
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