1869 -1903 · Louveciennes, Pontoise, Éragny and Paris

Snow does not erase the landscape of Pissarro: it reveals roads, steps, trees and facades with a range of white, yellow, blue, pink or gray.

Camille Pissarro painted snow throughout her career, from Louveciennes and London to Pontoise, Éragny and Paris. Around 1870, the snowy roads of Louveciennes kept the freshness of an observation outside; brown, blue, green and gray prevent white from becoming uniform. In Pontoise, embankments, houses and rare passers-by give the cold a rural density. Éragny then allows you to follow apple trees, gardens and views of Bazincourt under the frost, at sunset or in the morning light. In late urban series, the Louvre, the Pont-Neuf and the avenue de l'Opéra are seen from above: the snow simplifies the roofs but intensifies the circulation of cabs and pedestrians. The meteorological effect thus becomes a compositional tool that links country silence and modern activity. The "Neige de Camille Pissarro" selection notably compares La Route de Versailles in Saint-Germain, Louveciennes, snow effect and Snow effect in Éragny, with an apple tree. His reading favors color.

Pissarro snow is never empty: it retains traces of the passage and reflects a colorful light.