Chrysanthemums in a Chinese Vase - Camille Pissarro
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A 1873 still life by Camille Pissarro, featuring a bouquet of chrysanthemums in an ornate Chinese vase alongside a stack of books.
Camille Pissarro, a central figure in the development of Impressionism, produced this still life in 1873. The composition features a dense bouquet of chrysanthemums, rendered with the loose, expressive brushwork characteristic of his work during this period. The flowers, ranging from white to deep red and yellow, occupy the upper portion of the frame, creating a sense of volume and texture. They are housed in a decorative Chinese vase, which displays ornate patterns that contrast with the softer, more organic forms of the petals above.
To the left of the vase, Pissarro includes a small stack of books, one bound in a striking red cover. This addition provides a domestic context, grounding the floral arrangement within a study or interior setting. The background is a muted, neutral tone, which allows the colours of the flowers and the vase to emerge with clarity. The lighting is soft, suggesting a natural source from the side, which creates subtle shadows across the surface of the table.
Pissarro is often associated with his rural scenes, yet his still life paintings demonstrate his ability to apply the same observational rigour to domestic subjects. The paint application is varied, with thicker impasto used to define the petals, while the background remains flatter and more thinly applied. This work reflects the artist's interest in the interplay between light, colour, and form, captured within a controlled, indoor environment. The arrangement of the objects on the table surface creates a stable, triangular composition that draws the eye towards the centre of the bouquet. This piece offers a view into the artist's domestic life, showing his attention to the textures of everyday objects alongside the ephemeral nature of cut flowers.
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Care and materials
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
Care & Cleaning
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
Chrysanthemums in a Chinese Vase - Camille Pissarro
Artist Biography
Camille Pissarro
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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