A few nice paintings images I have found:

Camille Pissarro (French 1830-1903) – Haying Time (1892) – Detail


Image by UGArdener
"An overview of the late phase of Camille Pissarro’s career, with an examination of his paintings The Place du Havre, Paris, Haying Time, and Eragny, a Rainy Day in June.

PISSARRO’S LATE STYLE Unlike his other Impressionist colleagues, Camille Pissarro was deeply affected by the theories and techniques of Georges Seurat. From their first meeting in 1885, Pissarro and Seurat worked closely together, and the older painter played a major role in the genesis of Seurat’s masterpiece, Sunday Afternoon on the Island of La Grande Jatte. Yet, it was the influence of Seurat on Pissarro that was infinitely the stronger, and the older painter’s career during the second half of the 1880′s must be read as a studied response to the art of Seurat. Pissarro abandoned the complex, variable brushwork of his Impressionist period to adopt the regularized dot or "divisionist" technique of the younger artist. Even his compositions took on the rigor and organization-al clarity so evident as a component of Seurat’s cerebral art.

Yet, this late phase of Pissarro’s career was not altogether an easy one for him. His production of paintings declined radically as he worked harder and longer to achieve the synthesis of observation, com-position, and surface technique that he sought. In fact, by 1890, he was all but exhausted by his experiments. His dealer was complaining that his paintings were no longer saleable. His wife and friends found his prolonged flirtation with the technique of this younger painter foolish. And Pissarro himself was filled with self-doubt and hesitation.

All of this changed in the first years of the 1890′s, when Pissarro seemed to return to Impressionism. His brushwork regained the informality and richness of his earlier work, and his paintings once more began to spin one from the other with a seeming effortlessness and ease. Like Claude Monet, Pissarro started to work on canvases in series, choosing as his motifs views from his studio in Eragny or from various hotel rooms in Paris, Rouen, Le Havre, and Dieppe. He often worked on six or seven canvases simultaneously, discarding one temporarily when the light or his mood shifted. All of them were worked on in front of the motif, in the manner perfected by the Impressionists in the early 1870′s. Yet, they were all finished in his studio, where he could study them in groups, struggling to achieve a collective harmony among various canvases.

Pissarro’s motifs of the 1890′s are perfectly summarized in the three paintings reproduced here. The two landscapes were made in the village of Eragny, where the Pissarro family lived from 1883 until the painter’s death in 1903. Indeed, Eragny was to Pissarro what Giverny was to Monet. Yet, how differently each artist treated his domestic landscape. Monet chose to transform an ordinary orchard and vegetable patch into an exotic, enclosed floral garden that he used as a pictorial laboratory. Pissarro left his farm as it was, painting the orchards and fields as simple, rural landscapes, unadorned with flowers and untouched by gardeners. The irregular rhythms of the apple trees interact in the paintings with the elegant linear patterns of the poplars that divide the fertile fields.

In Haying Time, peasants harvest the ripened grain in the late summer sun, working to create the kind of haystack Monet had so recently and carefully studied. The general green tonality of the painting is enlivened by red, orange, yellow, purple, blue, and violet, all of which are woven inextricably together rather than applied in discreet dots or separate touches of paint. The final effect is of a gently vibrating colored surface that has an irregular or, in a way, natural texture, in contrast to the almost mechanical paint application of Seurat and his closest followers.

For Pissarro, the golden light of summer illuminated a rural scene that is at once elegiac and Arcadian. Time at Eragny was not the urban dweller’s experience of momentary or immediate sensation, but rather was measured by the seasons. In Pissarro’s view the crops grow and are harvested by contented men and women who work in harmony with nature’s laws."

www.artic.edu/artexplorer/search.php?tab=2&resource=396

Illuminated single leaf, Akbarnama, Walters Art Museum Ms. W.684B


Image by Walters Art Museum Illuminated Manuscripts
These two Mughal paintings are originally from a copy of the Akbarnāmah, the official history of the reign of the Mughal Emperor Akbar (r. 964-1015 AH / 1556-1605 CE), written by Abū al-Faẓl ibn Mubārak (d. 1011 AH / 1602 CE). The manuscript from which the two paintings derive is divided largely between the British Library (Or. MS 2988) and the Chester Beatty Library (Ms. 3). This illustrated historical manuscript has been dated between the late tenth century AH / sixteenth CE to the initial years of the eleventh century AH / seventeenth CE. The two Walters paintings are pasted over the central text panel of a page from Farhang-i Jahāngīrī, an imperial Persian language dictionary by Jamāl al-Dīn Ḥusayn Injū Shīrāzī (d. 1035 AH /1625 or 6 CE). This was done in the early twentieth century by the French dealer Demotte. This page shows the hanging of Shāh ʿAbd al-Maʿalī

Camille Pissarro (French 1830-1903) – Haying Time (1892) – Detail


Image by UGArdener
"An overview of the late phase of Camille Pissarro’s career, with an examination of his paintings The Place du Havre, Paris, Haying Time, and Eragny, a Rainy Day in June.

PISSARRO’S LATE STYLE Unlike his other Impressionist colleagues, Camille Pissarro was deeply affected by the theories and techniques of Georges Seurat. From their first meeting in 1885, Pissarro and Seurat worked closely together, and the older painter played a major role in the genesis of Seurat’s masterpiece, Sunday Afternoon on the Island of La Grande Jatte. Yet, it was the influence of Seurat on Pissarro that was infinitely the stronger, and the older painter’s career during the second half of the 1880′s must be read as a studied response to the art of Seurat. Pissarro abandoned the complex, variable brushwork of his Impressionist period to adopt the regularized dot or "divisionist" technique of the younger artist. Even his compositions took on the rigor and organization-al clarity so evident as a component of Seurat’s cerebral art.

Yet, this late phase of Pissarro’s career was not altogether an easy one for him. His production of paintings declined radically as he worked harder and longer to achieve the synthesis of observation, com-position, and surface technique that he sought. In fact, by 1890, he was all but exhausted by his experiments. His dealer was complaining that his paintings were no longer saleable. His wife and friends found his prolonged flirtation with the technique of this younger painter foolish. And Pissarro himself was filled with self-doubt and hesitation.

All of this changed in the first years of the 1890′s, when Pissarro seemed to return to Impressionism. His brushwork regained the informality and richness of his earlier work, and his paintings once more began to spin one from the other with a seeming effortlessness and ease. Like Claude Monet, Pissarro started to work on canvases in series, choosing as his motifs views from his studio in Eragny or from various hotel rooms in Paris, Rouen, Le Havre, and Dieppe. He often worked on six or seven canvases simultaneously, discarding one temporarily when the light or his mood shifted. All of them were worked on in front of the motif, in the manner perfected by the Impressionists in the early 1870′s. Yet, they were all finished in his studio, where he could study them in groups, struggling to achieve a collective harmony among various canvases.

Pissarro’s motifs of the 1890′s are perfectly summarized in the three paintings reproduced here. The two landscapes were made in the village of Eragny, where the Pissarro family lived from 1883 until the painter’s death in 1903. Indeed, Eragny was to Pissarro what Giverny was to Monet. Yet, how differently each artist treated his domestic landscape. Monet chose to transform an ordinary orchard and vegetable patch into an exotic, enclosed floral garden that he used as a pictorial laboratory. Pissarro left his farm as it was, painting the orchards and fields as simple, rural landscapes, unadorned with flowers and untouched by gardeners. The irregular rhythms of the apple trees interact in the paintings with the elegant linear patterns of the poplars that divide the fertile fields.

In Haying Time, peasants harvest the ripened grain in the late summer sun, working to create the kind of haystack Monet had so recently and carefully studied. The general green tonality of the painting is enlivened by red, orange, yellow, purple, blue, and violet, all of which are woven inextricably together rather than applied in discreet dots or separate touches of paint. The final effect is of a gently vibrating colored surface that has an irregular or, in a way, natural texture, in contrast to the almost mechanical paint application of Seurat and his closest followers.

For Pissarro, the golden light of summer illuminated a rural scene that is at once elegiac and Arcadian. Time at Eragny was not the urban dweller’s experience of momentary or immediate sensation, but rather was measured by the seasons. In Pissarro’s view the crops grow and are harvested by contented men and women who work in harmony with nature’s laws."

www.artic.edu/artexplorer/search.php?tab=2&resource=396