Lucien Pissarro
Camille Pissarro
['Charles Gounod', 'Masakatsu Funaki', 'Platonic', 'Jules Massenet', 'Christian Krohg', 'Muhammad', 'Lorenzo Ghiberti', 'Christoffer Wilhelm Eckersberg', 'Pietro Perugino', 'Platonic dialogues', 'Diogenes', 'Carl Orff', 'Ludwig van Beethoven', 'Jorma Panula', 'Ravel', 'Bede', 'Thomas Tallis', 'Althusser', 'Thomas Anshutz', 'Sigmund Freud', 'Yoda', 'Pyotr Ilyich Tchaikovsky', 'Ottorino Respighi', 'Schoenberg', 'Messiaen', 'Mahavira', 'Alexander von Zemlinsky', 'Nicola Porpora', 'Marsilio Ficino', 'Ammonius', 'Gaby Casadesus', 'Baal Shem Tov', 'Proclus', 'Antonio Salieri', 'Carl Friedrich Zelter', 'Ernst Krenek', 'Anton Arensky', 'Johann Sebastian Bach', 'Abraham Isaac Kook', 'Johann Christian Bach', 'Tchaikovsky', 'Zelter', 'Louis Althusser', 'Robert Campin', 'Abdus Salam', 'Thomas Cole', 'Giulio Caccini', 'Callimachus', 'Cimabue', 'Henry Cowell', 'Peter Paul Rubens', 'Paul Hindemith', 'Moinuddin Chishti', 'Ambroise Thomas', 'Franz Liszt', 'Elijah', 'Confucius', 'George Balanchine', 'Parmenides', 'Ivan Galamian', 'Rembrandt', 'Yip Man', 'Taddeo Gaddi', 'Amilcare Ponchielli', 'Yochanan ben Zakai', 'John Blow', 'Bronzino', 'Stanford', 'Charles Wesley', 'Jeremiah', 'Arnold Schoenberg', 'Isocrates', 'Ecgberht', 'Baruch', 'Galileo Galilei', 'Nadia Boulanger', 'Heidegger', 'Joseph Lister', 'Guarino da Verona', 'Antipater', 'Robert Schumann', 'Friedrich Wieck', 'Toyoharu', 'Anton Mauve', 'Lanfranc', 'Vincenzo Galilei', 'Robert Henri', 'Joseph Haydn', 'Giovanni Battista Viotti', 'Titian', 'Monteverdi', 'Zellig Harris', 'Balanchine', 'Simon Mayr', 'Brentano', 'Andrea del Sarto', 'Alexandre Cabanel', 'Henri Matisse', 'Gichin Funakoshi']
Orovida Camille Pissarro
Orovida Pissarro (8 October 1893 – 8 August 1968), known for most of her life as Orovida, was a British painter and etcher. For most of her career she distanced herself from the Impressionist and Post-Impressionist styles of her father, Lucien Pissarro and grandfather, Camille Pissarro, in favour of a technique influenced by Chinese and other Asiatic art; but in the last quarter of her career developed a manner which drew on both traditions.