Who painted Bridge at Caracas?

Bridge at Caracas was painted by Camille Pissarro in 1854.

Where can I see Bridge at Caracas?

Bridge at Caracas is held by National Gallery of Art.

What movement is Bridge at Caracas?

Bridge at Caracas is associated with Impressionism.

Can I buy a print of Bridge at Caracas?

Museum-quality prints of Bridge at Caracas are available made-to-order from Artifact World Gallery.

Artwork

Bridge at Caracas

Camille Pissarro , 1854

Bridge at Caracas is a graphite drawing by the Impressionist artist Camille Pissarro. It dates from 1854 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:recto: lower center in graphite: C. Pissarro .5 Janv. 54; verso: at upper left in graphite in later hand: 50; at lower right in graphite in later hand: 22
Markings: Marked:none

About this work

Overview

Camille Pissarro’s drawing titled Bridge at Caracas, executed in 1854, is a transparent watercolor and graphite work on wove paper. The piece measures a modest size and presents a quiet, rural scene rendered in delicate washes and fine line work.

Subject & Meaning

The composition centers on a single‑arch stone bridge spanning a shallow valley. Dark‑clothed figures occupy the bridge and the surrounding path, suggesting a moment of everyday travel. The surrounding terrain is rocky and gently rolling, punctuated by sparse trees and bushes, while a pale yellow sky with soft clouds looms overhead, conveying a calm atmosphere.

Technique & Style

Pissarro combines watercolor’s translucency with graphite’s precision to delineate the bridge’s weathered stone and the surrounding foliage. A restrained palette of warm browns, muted greens, and a subtle yellow sky captures the varied textures of rock, vegetation, and sky, while the graphite outlines provide structural clarity without disrupting the overall softness of the wash.

Context

Created early in Pissarro’s career, the drawing reflects the artist’s interest in rural infrastructure and the interplay of human activity with natural landscapes. The work aligns with mid‑nineteenth‑century French drawing practices that emphasized plein‑air observation and a modest, observational approach to everyday subjects.