The Pissarro Family Tree

Updated: Nov 6, 2021

The Pissarro Family Tree


Camille Pissarro, Stroke of Genius
Baigneuses, Le Jour

In the history of art, Impressionist master Camille Pissarro garnered a reputation for his prolific technique and imagery. The patriarch of the Pissarro family, his honesty resonated in his prints that truly emulated the zeitgeist of 19th century Impressionism. Born into a Jewish family in the West Indies, he spent 1859-1961 in the company of the great impressionists; mentored by Corot, influenced by Millet and Courbet, acquaintances with Monet, Cezanne and Guillaumin. His close relationship with Edouard Manet in 1866 coerced him into the Impressionism movement, and in 1885 to 1890, he experimented in pointillism. Print-making became a passion of his, and he was often drawing inspiration from the towns and landscapes around him in the most straight-forward of manners. His goal was to portray nature and the working class in a sensitive way, as he believed the reality of nature lay in its close intimacy with man. Due to the lack of mainstream appeal in his work, Pissarro chose to keep his works private during his career, only sharing them with close friends, family and fellow artists. Today, his etchings and lithographs are regarded among the finest works of his time. (Pictured: Baigneuses Le Jour, 1895)


Georges-Henri Manzana Pissarro
Le Pont de Saint-Cloud

Better known by his moniker, Manzana, Georges-Henri Pissarro was born in 1871, the third of Camille Pissarro’s seven children. From an early age, he was enveloped by the world of Impressionist painting in the Pissarro household. Between 1889 and 1898 he gained additional exposure to the world of painting whilst spending seven years in London. It was here he learned the prolificacy and versatility of his artistry; he recognized the importance of all mediums and searched for other means of expression. Georges was better known as the carbon copy of his father. This perception of him is important in understanding the artistic development of Georges. He created expressionist landscape at the beginning and end of his career, building his un-idealized yet exotic fantasies somewhere in between. He was one of the first artists to contribute to the development of Orientalism. It is often said that Manzana was more of a sensual than an intellectual; he was indifferent to the trend of his time. We see two generations in him; that of his father and that of his friends (Pictured: Le Pont de Saint-Cloud, 1902)


Concarneau Harbour, Brittany (1928)

Born in Paris in 1878, Ludovic-Rodo Pissarro was vastly encouraged by his father to begin drawing from nature at a very young age. As the fourth son of Camille Pissarro, he became known by his sobriquet, Rodo, and his father’s influence made a considerable impact on his artistic production, which encompassed a wide range of media from oil painting, tempera, watercolor, gouache, wood engravings, drawings, and lithography.

In 1898, Rodo settled in Montmartre with his brother Georges Manzana, where he found the night-life of Paris to be the most compelling of subjects. After Paris, he worked in London to avoid the outbreak of war, and it was here he established the Monarro Group in 1915, which was aimed at exhibiting work by contemporary artists inspired by Impressionism. Despite his rich artistic heritage and personal accomplishments as an artist, he is best remembered for his scholarly contributions to art history. For twenty years, he researched and compiled a catalog of his father’s work, a project that was published in 1939. This work up until today is still considered to be the definitive reference book on Camille Pissarro and the Pissarro legacy. (Pictured: