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Narcisse Virgilio Díaz de la Peña
"Elegant Figures in a Forest" Oil on Wood Signed in Frame with Expertise

circa 1840s

$5,385.91
£3,972.94
€4,500
CA$7,462.44
A$8,102.76
CHF 4,291.01
MX$99,316.68
NOK 53,102.90
SEK 50,179.43
DKK 34,257.88

About the Item

Narcisse Virgile Diaz de la Pena (1808-1876), "Elegant Figures in a Park." Oil on wood signed on the back Diaz de la Pena. We thank Michel Rodrigue for confirming the attribution of the painting to Diaz. Measurements panel 24.5 x 14 cm frame 35 x 24 cm The son of a Spanish exile, Narcisse Virgile Diaz de la Peña spent a wandering youth: from Bordeaux, his hometown, to Paris, via England and Languedoc. As a young apprentice in a Parisian porcelain factory, he learned the use of colors and met painters Jules Dupré, Raffet and Troyon. Self-taught, he tried painting the immediate environs of Paris before studying the luminists of the Louvre: Correggio, Rembrandt and Prud'hon. From 1831, the date of his first participation in the Salon, until his death, he achieved relatively rapid success with collectors and with the artists who would become his friends: Théodore Rousseau, Corot, Millet, and Daumier. Due to infirmity, the landscape painter did not experience the adventure of the trip and, an admirer of Hugo and Delacroix, saw only Decamps' East. In 1836 (the year he met Rousseau), he fell in love with the forest of Fontainebleau, where he found most of his carefully chosen motifs. Soon, painters would gather around Rousseau, who had settled in the village of Barbizon, who would break the rigid framework of the academic landscape. It was a liberation that preserved the dramatic exaltation of the Romantics, combining it with a very deep sense of reality. The spectacle of a clearing or underbrush was imbued with a passion stronger than the visual anecdote. At the same time as Rousseau and Daubigny, Diaz helped take away from landscape the theatrical picturesqueness of the great panoramas of Romanticism; even more original was his understanding of the purely pictorial effect. He knows the resources of the material he handles with a feverish brush. Like a brooding fire, the red light creeps through the masses of green in the thick, burning shadow. The whole canvas lives with a mysterious light, with "dazzling solar jewels" (Focillon). Within forests and gardens sprout small, barely defined figures, fairies, gypsies, nymphs or elegant ladies, as if out of a dreamlike vision. "Diaz's painting is a dream in an enchanted land. These forests and voluptuous creatures are encountered only in visions of hashish, when one is in perfect health and perfect happiness. It is to this fairy-tale charm that Diaz's success must be attributed; for his painting itself, or rather its execution, instills a certain awe in the bourgeoisie, which generally prefers finished, clear and easy-to-understand paintings." In his 1846 Salon, Théophile Thoré gives us a comprehensive view of his protégé, Narcisse Virgile Diaz de la Peña. Our painting depicts a sunlit garden or forest clearing where a group of elegant ladies in sumptuous dresses are having fun joking with each other. These small, delightful genre scenes belong to a series of tablets that Diaz produced around the middle of the 19th century, which were much loved by the public and which he offered for sale, the so-called "Diaz sales"; some of them even bear the seal "Vente Diaz," in our case the panel is signed on the back and, in order to have the greatest certainty of attribution, it was submitted to the attention of Michel Rodrigue, an expert on Diaz and the Barbizon school and a member of the Union Francais Experts (UFE). Michel Rodrigue to date has viewed more than 30000 works of the Barbizon School.
  • Creator:
  • Creation Year:
    circa 1840s
  • Dimensions:
    Height: 9.45 in (24 cm)Width: 13.78 in (35 cm)
  • More Editions & Sizes:
    tavola cm 24,5 x 14Price: $5,386
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Pistoia, IT
  • Reference Number:
    1stDibs: LU2746216701292

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