La Chaumière au Grand Saule

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Jean-Baptiste-Camille Corot
La Chaumière au Grand Saule
circa 1865

About the Item

Oil on panel. Signed lower left. Framed dimensions are 25 inches high by 29 inches wide. Corot was born into a well to do family of retailers who ran a dress shop located on the corner of the Rue du Bac and the Quai Voltaire, and who supplied the Tuileries. He followed his father’s wishes by becoming a salesman at a draper’s, while also attending the Swiss Academy in 1817. Determined to become a painter he managed, with some difficulty, to persuade his father to give him an allowance of 1500 livres so that he could devote himself to his studies. In 1822 he became a pupil of Achille-Etna Michallon, but his teacher died prematurely (he was just three months younger than Corot) and so Corot joined the studio of Jean-Victor Berlin. Throughout his life Corot travelled for his art: he made three trips to Italy, the first from 1825 to 1828, the second in 1834, and the last in 1843. Following his return to Paris in 1828, he visited Fontainebleau and Normandy, with a trip to Brittany the following year. At the time of the three-day Revolution of 1830 he was in Chartres, before travelling on to Normandy, visiting Dunkirk, Boulogne, and Berck. He then travelled to Burgundy and explored the Nivernais and the Auvergne. Corot frequently stayed in Arras with his friend Constant Dutilleux, who often accompanied him on his travels. His many expeditions took him to the Morvan, near Dijon; to Switzerland in 1841 to 1842, a country to which he often returned with his friend Charles-François Daubigny; to the Netherlands in 1854; to London in 1862; and to Auvers-sur-Oise in 1868, among many others. Among his favourite places was Ville-d’Avray, where his father had bought a house in 1817. From 1827 he participated regularly in the Paris Salon, although he had paintings refused in 1843 and 1847. He gained a first-class medal in 1848 and in the same year became a member of the Salon jury and a member in his own right. He featured in the Exposition Universelle of 1855 in Paris (where he received a first-class medal), in the London equivalent in 1862, and in Paris again in 1867. He was made a Chevalier of the Légion d’Honneur in 1846 and an Officier in 1867. His first attempts at painting demonstrate an adherence to the doctrine of Neo-Classicism, but this changed once he began to paint in the open air and take an interest in the landscape itself, something that was to be more fully developed on his first trip to Italy. His views of the Forum and the Colosseum, as seen from the Farnese gardens, are among the first he painted in 1826 and show architecture and nature in perfect equilibrium under the warm Roman sun. Corot was amazed by the intense quality of the light, which he struggled to re-create in his work, finally achieving a beautiful limpid quality in landscapes such as Narni, the Augustin Bridge over the Nera. This masterpiece was in fact simply a study for the painting View from Narni, which he sent to the Salon of 1827. When one looks at these two works, one can begin to understand the reasons behind the disagreements between the defenders of the ‘pre-Impressionist’ Corot and the critics who see him as a painter of Neo-Classical landscapes. The study in oil allows Corot a freedom of expression that leads him to make rapid brushstrokes in the foreground, avoiding detail, before using patches of black in the middle of the composition to bring out the conflict between light and dark and highlight the play of light on the bridge and the water, resulting in a diffused light over the distant bluish mountains. The definitive painting, however, shows nature reconstructed in a manner reminiscent of Claude Lorraine, depicting a pastoral scene in a manner intended to demonstrate that he has reached artistic and technical maturity. He seems to want to create something acceptable to the Salon, a common preoccupation among most artists of his generation. At the same time Corot was producing studies of figures, portraits of Italian men and particularly Italian women, using plain backgrounds that accentuate the costumes and sensuality of his models and highlight their appealing simplicity. The combination of artificial composition and broad brushstrokes would only come together again in the series of single figures he painted for their own sake, and which he never showed. On his return to France, Corot painted landscapes of views seen on his travels to Normandy, Brittany, the Ile-de-France, Ville-d’Avray, and Fontainebleau, as well as several portraits of family and friends. Some of the landscapes painted between 1828 and 1834, such as Chartres Cathedral (1830) and View of Soissons (1833), are designed to explore the relationship between the main subject and its setting. The cathedral is seen in the background, partly hidden by a hillock and a pile of stones, yet is still depicted with fine detail. The view of Soissons is equally surprising because the towers of the church of St-Jean-des-Vignes stand out clearly at the rear of a panoramic landscape. The two paintings Corot submitted to the 1835 Salon after his second trip to Italy, View at Riva, the Italian Tyrol and Hagar in the Desert, demonstrate two different concepts of landscape. The titles themselves define the different genres: one shows a landscape painted for the pure poetry of the place; the other is a dramatic biblical subject. Yet the View of Riva is just as detailed as Hagar in the Desert. One only has to compare the finished work submitted to the Salon with the oil study showing the same view: reeds have been added in the foreground and a tree added on the left to balance the one on the right, while the little shrine, lightly sketched in the study, is presented clearly in view and a small figure faces the viewer. The whole painting has been reconstructed to bring out the strange luminosity and poetic lyricism of the reflections on the water. On the other hand, the hard light that illuminates the landscape in Hagar in the Desert is there to evoke the drama enveloping Hagar and her son, chased into the desert and on the point of dying of thirst until an angel intervenes to save them. The protagonists have only a small place in this vast dramatic landscape and, as Charles Lenormant wrote at the time, ‘M. Corot’s landscape has something which grips the heart long before one becomes aware of the subject. That is the true merit of the historical landscape: the harmony between the place and the passion or suffering that the painter wishes to put there’. According to a more modern view of Corot’s work, the true subject of these two works is the landscape, which, as Corot saw it, is at once classical in its elaborate composition and lyrical and poetical in the rendering of the light; these two qualities combine to produce a work far removed from the true Neo-Classical historical landscape. At later Salons Corot frequently forced himself to produce landscapes with no aim beyond the depiction of a place and a historical landscape where a mythical or religious scene is being played out. More often than not these scenes would be on a small scale and not considered as the main subject. Corot also painted figures, generally melancholy in tone, although an exception is Harvester Holding a Sickle (1838) , which shows a woman smiling in a composition notable for its extreme sobriety. By contrast, in Young Girl with a Pink Skirt (1840–1845) , the girl’s bodice is slightly undone and her dreamy eyes look out from a sad but beautiful face. In this same vein are Little Jeannette, Young Woman Seated with Flowers in Her Hands and Peasant Woman (both 1840–1845) and Melancholy (1850–1860). Around 1840 Corot made a number of studies of nudes, mainly drawings, that echo Ingres in their line. One of the most exceptional of these is Roman Odalisque or Marietta (1843), which shows a rich variety of pinks, ochres, and skin tones, with contrasting flat and textured surfaces and contours, both accentuated and only suggested. These figures are not strictly speaking true portraits, as is the case in the series of drawings of monks from 1850 onward, such as Carthusian Monk Reading (1850–1855), which evokes the intensity of the meditation with its strong, vigorous brushstrokes. In all these works Corot used a sober palette that caused Baudelaire to write, ‘He knows how to be a colourist with a limited range of tones’. Both his drawings and his etchings demonstrate a development toward an increasingly free style: even if his composition remained classical, there were hints of the trembling of leaves in the wind and light filtering down through branches. At the exhibition Corot, 1796–1875 in Paris in 1996, the Bibliothèque Nationale showed the original glass plates from which prints were made by the cliché-verre process. This technique was developed after 1839, and Corot employed it many times between 1853 and 1874. Through these unique artefacts can be seen the luminous lines traced by Corot’s own hand. He would draw his subject on a plate of glass covered with an opaque coating and then a print would be taken on sensitive paper, as in the photographic process. Corot also created decorative paintings, notably at the church in Rosny-sur-Seine, for which he painted a Flight into Egypt in 1840 and a Road of the Cross in 1856. In collaboration with his friend Richomme, he also decorated the transept of the church in Ville-d’Avray. Most of his decorative work was executed for those within his circle, for example for Decamps’ studio in Fontainebleau and for Fleury’s house in Magny-les-Hameaux. While he was in Switzerland, in 1857, he decorated a salon in the château at Gruyères (Fribourg). In 1865 he painted two panels to decorate the dining room of Prince Demidov’s private house in Paris. The year 1859 marked the summit of his career and a turning point in his art. He began to explore a variety of forms: literature, in Dante and Virgil (1859); figure compositions, including the nude in a landscape in The Toilette (1859); the false portraits of the Studios series from 1865 to 1872; and naturally landscapes, notably those intended to summon up memories of a place. He became a spontaneous painter, with an ability to capture the light in a particular season, the luminosity of a particular moment of the day, and above all the very heart of nature. Théodore de Banville defined Corot as a landscape poet ‘who feels, suffers and breathes the joys and sorrows of nature; he knows the pain of the tearful forests, the ineffable sadness of the evenings, the exhilarating joy of spring and daybreak: he divines the thoughts of the bending branches and the swaying greenery’ Others claimed that he dreamt of nature: Maxime du Camp, for example, in discussing Souvenir of Mortefontaine (1864), wrote that ‘he never copies nature, he dreams it and reproduces it as he has seen it in his dreams’. His memory pictures, such as The Boatman Moored, Souvenir of an Italian Lake (1861 or 1864), Souvenir of Mortefontaine (1864), Souvenir of the Surroundings of Lake Nemi, and Souvenir of Riva (1865–1870), are bathed in a silvery light that unifies the compositions in a hazy atmosphere. Corot was suspicious of colour, especially in the years from 1860 to 1870: ‘What I seek is form, ensemble, the true value of tones - that is why for me colour is secondary, for I love above all the whole, the harmony of the tones, while colour creates a clash which I dislike. It is perhaps due to an excess of this principle that I use leaden tones’. In this regard he objected to certain Impressionist paintings such as Daubigny’s Field of Carnations, which he found ‘blinding’. However, in most of his landscapes there is a tiny detail that enlivens them, such as an item of clothing on a small figure, painted in red so as to bring out the grey tones even more effectively. Indeed, the light touch he uses to suggest leaves on the trees, without actually detailing them, brings his landscapes close to the Impressionist vision. Corot’s landscapes can excite both lovers of classical landscapes, who compare them to those of Nicolas Poussin or Lorraine, in that they are not copies of nature but beautifully composed re-creations of it, and also romantics who see them as poetic dreamscapes prefiguring Impressionist landscapes. Despite the seeming incompatibility of these reactions, they in fact define the Corot landscape, which in its apparent simplicity is actually far more complex than it at first appears. The dreamlike vision present in these landscapes is even more evident in the different versions of The Studio, painted between 1860 and 1870 and representing models shown reading, dreaming, and thinking, seen in profile, from behind, or in three-quarters view. The women are sometimes dressed in Bohemian, Italian, Greek, or Asian costume and sometimes simply in contemporary dress. In their hands they may hold a book, a letter, or a mandolin and be seated in front of an easel, a painting, or just in the studio. The despairing pose of the model in one of these, The Letter (about 1865), has given rise to much discussion, detracting from the pictorial quality, which is achieved with broad brushstrokes of monochrome browns, yellows, and whites. In The Studio (1865–1866), a young woman holds a mandolin in her hand, the orangey-red of her bodice creating an unexpected splash of colour in the midst of the grey and black tones, in a composition strongly reminiscent of Johannes Vermeer. Another version depicting a woman with a mandolin (about 1870–1872) shows off to advantage the sumptuous salmon-pink colouring of her dress. It was painted very cursorily, but masterfully, rather like the dress in the famous Lady in Blue (1874), one of Corot’s last paintings, in which, according to Meier-Graefe, ‘the richness derives more from the vehement brushstrokes than from the variety of tones’. It was on the strength of this painting that Paul Jamot deemed Corot worthy of comparison with Manet, adding, curiously: ‘That blue strongly resembles the colour of the couch on which we see Mme Manet lying in her husband’s painting of her in the same year of 1874’. It could be said of Corot that he was ‘a modernist in spite of himself’, having been attracted to and nurtured by classicism, but having taken the path that led to Impressionism, without actually joining the movement. It is worth remembering that he died one year after the first exhibition of Impressionist paintings at the studio of the photographer Nadar. Although a painter-poet and dreamer, Corot was almost exclusively seen as a landscape artist, owing to a misapprehension brought about by the artist himself, who only exhibited landscapes at the Salon and hardly ever showed his figure studies, which were finally revealed to the public at the Salon d’Automne of 1909. The latter, notably those in the Studios series, are of very high quality, but brought Corot close to the art of realism, to which he was opposed, having little regard for either Jean-François Millet or Édouard Manet. He was not, however, an isolated artist: one has only to look at the number of painters who either were or claimed to be among his pupils, including those as different as Antoine Chintreuil, Stanislas Lépine, Berthe Morisot, Alfred Sisley, and Camille Pissarro. Corot always worked surrounded by numerous pupils, collectors, tradesmen, and schemers, which may in part explain the personality cult surrounding him and the number of copies of his work. According to a wisecrack made by René Huyghe, ‘Corot produced 3,000 paintings, of which 10,000 have been sold in America’, and one might add ‘and elsewhere’. Several thousand paintings are of doubtful origin and this proliferation of fakes is all the more surprising given that Corot’s work is already so abundant. His biographer, Alfred Roubaut, tried to hunt down the fakes, establishing a detailed inventory of false canvases in parallel with a convincing catalogue of his work. The confusion was exacerbated by Corot himself for several reasons. Toward the end of his life he sometimes worked in collaboration with his pupils, as the Old Masters had, producing studio works. He would paint several versions of the same landscape, while his pupils would make copies of it, thereby making more works available for sale. He sometimes signed copies, once he had retouched them and rendered them ‘authentic’, or even authenticated fakes by adding a personal touch before signing them. This extraordinary situation, which makes distinguishing originals from fakes so difficult, is evidence of Corot’s celebrity and the extent to which his works were in demand. He had become the teacher par excellence, copied by his pupils to the point of creating fakes, while the public showed an unbridled infatuation with his work, particularly his hazy landscapes from the 1860s. It is these paintings that gave rise to the opinion that Corot was the precursor of the Impressionists, but this is to ignore his Neo-Classical training, his passion for historical landscapes, and his admiration for the masters of the classical landscape, as well as his series of single female figures, so late in attracting critical acclaim. Museum and Gallery Holdings: Agen (MBA): The Pond at Ville-d’Avray Aix-les-Bains (Mus. Faure): Landscape at Montgeron Amsterdam (Rijksmus.): Young Algerian Woman Lying on the Grass (1871–1873) Angers (MBA): Campaign of Rome (1827, deposited by the Musée du Louvre) Arras (MBA): Road near Arras or The Little Cottages (c. 1842, oil on canvas) Avignon: Italian Scene, Mountainous Landscape Baltimore (MA): Corot’s Studio (c. 1865–1868) Baltimore (Walters AM): St Sebastian (c. 1842, landscape); Old Man and Young Boy (1843) Bayonne: Two Landscapes Beauvais (Mus. départemental de l’Oise): Paris, the Old Pont St-Michel; Cup of the Académie de France in Rome (1826–1827) Béziers: Pond at Ville-d’Avray Bordeaux (MBA): Diana Bathing (1855, oil on canvas) Boston (MFA): Rome, Old Man Seated on Corot’s Trunk (c. 1826); Farm in the Nièvre (1831);Harvester Holding Her Sickle, Head Resting on Her Hand (1838);Forest of Fontainebleau (1846, oil on canvas); Dante and Virgil (1859); Moonlit Landscape (1874, oil on panel) Boulogne-sur-Mer (MBA): Plain near Beauvais from the Faubourg St-Jean (1860–1870, oil on canvas mounted on board) Brussels (Mus. royaux des Beaux-Arts de Belgique): Dieppe, End of the Pier and the Sea (1822, oil on canvas) Buffalo (Albright-Knox AG): Rome, Italian Monk Reading (c. 1826–1828, oil on canvas) Caen (MBA): Goatherds on the Borromean Islands (1866); Goatherds from Castel Gandolfo Cambridge (Fitzwilliam Mus.): Italian Landscape (1828, oil/paper marouflé/canvas) Cambridge, MA (Fogg AM, Harvard University): Honfleur, Ornamental Pond (c. 1830) Cardiff: Beech Tree Chantilly (Mus. Condé): Concert in the Country Chicago (AI): Genoa, View of the Spianata dell’Acquasola (1834); Rome, Mount Pincio, SS Trinita dei Monti, View from the Gardens of the Académie de France (c. 1834–1835); Souvenir of the Surroundings of Lake Nemi (1865); Interrupted Reading (c. 1870–1873, oil on canvas) Cincinnati (Taft MA): Souvenir of Riva: Evening Glow (1865–1870, oil on canvas); Brook beneath the Trees with a House in the Distance (Ruisseau près de Marissel, Oise) (1865–1870, oil on canvas); Outside Paris, the Heights above Ville-d’Avray (1865–1870, oil on canvas); Peasants Stopping at the Edge of a Wooded Road near a Village (formerly at Ville-d’Avray) (1860–1869, oil on canvas); Evening: the Festival of Pan (1855–1860, oil on canvas) Cleveland (MA): Cervara, the Roman Countryside (c. 1830–1831, oil on fabric); Lormes: Goat-Girl Sitting beside a Stream in a Forest (1842, oil on fabric); Willows and Farmhouse at Ste-Catherine-lez-Arras (1871, oil on fabric) Cologne (Wallraf-Richartz Mus.): Ville-d’Avray; Poetry Copenhagen (Ny Carlsberg Glyptotek): Melancholy (1850–1860) Dijon: Landscapes Douai: Italian Scene Dublin: The Cup of the French Academy in Rome Dunkirk (MBA): Dunkirk, the Fishing Docks (1857, oil on canvas) Edinburgh (Nat. Gal. of Scotland): Ville-d’Avray: Entrance to the Wood (c. 1823–1825, oil on canvas); The Artist’s Mother (Marie Françoise Oberson) (c. 1842, oil on canvas) Florence (Uffizi): Corot with Palette in Hand (c. 1840) Fort Worth (Kimbell AM): View of Olevano (1827, oil on paper remounted on canvas); Orpheus Lamenting Eurydice (c. 1861–1865, oil on canvas); The Stonecutters (c. 1872–1874, oil on canvas) Frankfurt am Main (Städel): Head and Shoulders of a Young Woman Geneva (MAH): Rome, Monte Pincio and SS Trinita dei Monti, View from the Gardens of the Académie de France (c. 1826–1828); The Moulin de la Galette in Montmartre (1840–1845); Quai des Paquis in Geneva (c. 1842); Nymph Resting in the Countryside (1859) Ghent (Mus. voor Schone Kunsten): Quarry of the Chaise-Marie at Fontainebleau (c. 1830–1835) Glasgow (AG and Mus.): Evening; The Woodcutter; Prawn Fisherman; The Lake; Wooded Landscape; Mademoiselle de Foudras (1872); Pastoral (1873) Hamburg (Kunsthalle): Woman with a Rose; Boatman on the Pond; Romantic Castle; Monk with a Cello (1874, oil on canvas) Hartford (Wadsworth Atheneum): Rouen from the Hill of St Catherine (c. 1829–1834, oil/paper) Houston (MFA): Orpheus Leading Eurydice from the Underworld (1861, oil on canvas) La Rochelle: Landscape, Surroundings of Geneva Langres: Christ in the Garden of Gethsemane Lausanne: Lausanne and Lake Geneva Le Havre (Mus. Malraux): Young Girl Seated with a Book in Her Hand Le Mans: Morning near the Pond in Ville-d’Avray Liège: View of the Castel Sant’Angelo; Edge of a Forest at Dusk; View of Rocca di Papa in the Morning; View over the Adriatic Lille: Castel Sant’Angelo and the Tiber, Rome; Convent of Subiaco; Internal Gallery of the Colosseum; Traditional Fair; Morning Effect London (NG): The Seine near Rouen (c. 1830–1835, oil/paper/canvas); Avignon from the West (1836?, oil on canvas); Peasants under the Trees at Dawn (c. 1840–1845, oil on canvas); The Leaning Tree Trunk (c. 1855–1860, oil on canvas); Souvenir of a Journey to Coubron (The Fisherman’s Hut) (1873, oil on canvas, others paintings) London (Wallace Collection): Macbeth and the Witches (c. 1858–1859, oil, double canvas) Los Angeles (Getty Mus.): Italian Landscape (1835, oil on canvas); Lake and Boat (1839, oil on canvas) Los Angeles (UCLA Hammer Mus.): Pastoral Landscape (c. 1865–1870) Lyons (MBA): Landscapes; Field of Wheat; Corot’s Studio, Young Woman in a Velvet Dress (1870) Marseilles (MBA): View at Riva, Italian Tyrol (1850) Melbourne: Tree Leaning to One Side Merion (Barnes Foundation): Italian Landscape (1838, oil on canvas) Metz (La Cour d’Or): Shepherd in Arcadia (1840) Minneapolis (IA): Silenus (1838, oil on canvas) Montpellier (Mus. Fabre): Net Fishing; Fog Effect;Morning Effect Montreal (MBA): Ville d’Avray; Happy Island (c. 1865–1868) Moscow (Pushkin MFA): Morning in Venice (1834);Gust of Wind Mulhouse: Landscape Munich (Neue Pinakothek): View at Riva, Italian Tyrol (1835) Nantes (MBA): Landscape, Sun Setting after Rain; Democritus and the Citizens of Abdera, Landscape (1841) New Haven (AG, Yale University): La Rochelle: Quarry near the Port Entrance (Le Port de La Rochelle) (1851, oil on canvas) New York (Metropolitan Mus. of Art): Lake Albano and Castel Gandolfo (1826–27); Honfleur: Calvary on the Côte de Grace (c. 1829–1830, oil on canvas); Fontainebleau: Oak Trees at Bas-Bréau (c. 1831–1833); Toussaint Lemaistre, Architect (c. 1833); Hagar in the Wilderness (1835); Diana and Actaeon (1836); Dardagny, near Geneva, Village Street (c. 1842); The Burning of Sodom (c. 1842); Bacchante by the Sea (1865); The Letter (c. 1865); Woman Reading in a Landscape (1869–1870, background later repainted); Ville d’Avray (1870); Sibyl (c. 1870–1873) Norfolk (Chrysler MA): Roman Countryside, Rocky Valley with a Herd of Pigs Northampton, MA (Smith College MA): Blonde Woman from Gascony (1850) Ottawa (NG. of Canada): The Bridge at Narni (Vue prise à Narni) (1827) Otterlo (Kröller-Müller Mus.): Soissons Seen from M. Henry’s Factory (1833); Young Woman at the Well (1865–1870) Oxford (Ashmolean Mus.): Landscape: Le Petit Chaville, near Ville-d’Avray (c. 1825, oil on canvas); Montfermeuil: the Stream under Wood (oil on canvas); A Hill town in Italy (A View of Olevano) (oil on canvas); Lago di Piediluco, Umbria (1826, oil on canvas); Portrait of Mme Bison (oil on canvas);Portrait of Mme Bison, a Merchant of Paris (oil on canvas) Paris (Louvre): Morning;Sunset; Mary Magdalene Reading; Horses’ Rest; The Bathers; The Valley; Porte du Jerzual in Dinan; Dance of the Shepherds in Sorrento; Willow Plantation; Souvenir of Italy; The Pond; Entrance to a Village; Small Cottages; Evening; Eclogue; St Mark’s Square in Venice; Souvenir of Italy, Castel Gandolfo; Mary Magdalene Resting; Mount Testaccio; Rome, Castel Sant’Angelo; Rocks from the Nazons; Vesuvius; Entrance to the Port of Le Havre; Fishermen’s Houses in Ste-Adresse; Volterra, the Municipio; Volterra, the Citadel; Villeneuve-lès-Avignon; A Monk; St-André en Morvan; The Bride; Lake Brienz; La Rochelle; Optevoz; The Schoolboy; Rustic Interior at Bas-Bilier; Ramparts at Arras; Marcoussis; Tower at Monthléry; Windmill near Versailles; Fishing Boat at Low Tide; Marissal, Path to the Front of the Church (L’Église de Marissel) (1866, oil on panel); Velléda; Mantes Bridge; Tanners from Mantes; Fisherman in His Boat; The Barrow; Evening Party; Willows; Nymph Disarming Cupid; Goatherds on the Borromean Islands; The Road; Clearing at Daybreak; The Boatman; Shepherd by a Pond; Rest under the Willows; The Ford; Morning; Evening; Catalpa; Marshes at the Square Tower; Raising of the Nets; Pallual Bridge; Dance of the Shepherds; Woodcutters near Arras; Souvenir of the Landes; Mill at St-Nicolas-les-Arras; Self-Portrait at the Easel (1825);Cabassud Houses at Ville d’Avray (1825–1835); Rome: the Colosseum Seen through the Arches of the Basilica of Constantine (1825); Rome: the Colosseum Seen from the Farnese Gardens at Midday (1826); Rome: the Forum Seen from the Farnese Gardens (1826); Pont d’Auguste over the Nera or the Narni Bridge (1826); Poussin’s Walk, Roman Countryside (1826–1828); Roman Countryside (1827); Ischia, View from the Slopes of Mount Epomeo; Trouville, Fishing Boat at Low Tide (1829–1830); Chartres Cathedral (1830); Marie-Louise Laure Sennegon, later Madame Philibert Baudot, Niece of the Artist (1831); SS Trinita dei Monti, View from the Villa Medici (c. 1830–1834); St-Lô, General View of the Town (1833); Volterra, the Citadel (1834); Florence, View of the Boboli Gardens (c. 1834–1836); Louise-Claire Sennegon, the Future Madame Charmois, Niece of the Artist (1837); Portrait of Alexina Legoux (1830–1840); Château of the Duchesse de Berry in Rosny (1840); Rome, the Forum Seen from the Farnese Gardens, Evening (c. 1842); Louis Robert as a Child (1842); Woman with a Pearl (1842); Breton Women at a Fountain (c. 1842); Tivoli, the Gardens of the Villa d’Este (1843); Italian Goatherd, Sunset Effect (c. 1847); Entrance to a Village, Surroundings of Beauvais towards Voisinlieu (c. 1850); Mother Superior of the Convent of the Annunciation in Boulogne-sur-Mer (1852); Monk in White, Seated, Reading (c. 1855); Portrait of Maurice Robert as a Child (1857); Chemin de Sèvres, View over Paris (1858–1859); Souvenir of Mortefontaine (1864); Marissel Church, near Beauvais (1866); Knight (1868);Corot’s Studio (1868–1870); Woman with a Pearl (1868–1870); Mantes Bridge (1868–1870); Belfry at Douai (1871); Road to Sin-le-Noble, near Douai (1873); Interior of Sens Cathedral (c. 1874); Woman in Blue (1874) Paris (Mus. d’Orsay): Sailing Boat Aground at Trouville (1829); Dance of the Nymphs (1850); Distant Tower (c. 1860–1865); Cowherd, Morning (1864); Young Girl at Her Toilet (1860–1865); Young Woman in a Pink Dress (1860–1865); Courtyard of a Bakery near Paris (c. 1865–1870); Corot’s Studio, Young Woman in a Red Blouse (c. 1865–1866); Souvenir of Ville d’Avray (1872) Paris (Mus. du Petit Palais): La Marietta (1843) Paris (Mus. Picasso): Maria di Sorre, the Italian Woman, Seated Pau (MBA): The Apremont Gorges (1830–1835) Philadelphia (MA): Ville d’Avray, Walled Path Leading to the Ponds (c. 1828); Soissons, Residence and Factory of M. Henry (c. 1833); Geneva, View of Part of the Town (c. 1842); Nemi, beside the Lake (1843) Pittsburgh (Carnegie MA): Early Spring Near Mantes (1855–1865, oil on canvas); around 30 prints Quimper (MBA): Pierrefonds, General View; Breton Landscape; View of the Château at Pierrefonds (c. 1842) Rennes (MBA): Ford, Evening Rheims (MBA): Cup of the French Academy in Rome; Italian Dance; River Crossing; Souvenirs of Lake Albano; Two Sisters under the Trees, beside a Lake; Stream, near Beauvais; Path under the Trees, Spring; Fisherman in His Boat by the River Bank; Souvenir of Mediterranean Shores; Path in the Woods; Woman Reading on a Wooded Riverbank; Lake, Moon Effect; Washerwomen by the Water; View of Mantes-la-Jolie; Honfleur; The Marais; Undergrowth; Young Italian Man Sitting in Corot’s Room in Rome (c. 1825–1827); Mantes, the Cathedral and the City Seen through the Trees (c. 1865–1870); Gust of Wind (c. 1865–1870); Ville d’Avray, Pond with Tree Leaning to One Side (1865–1870) Rotterdam (Mus. Boijmans Van Beuningen): Ponte Nomentano (oil on canvas) Rouen (MBA): Quai des Marchands in Rouen (1833–1834); Morning in Ville-d’Avray, Cowgirl (1868) São Paulo (MA): Gypsy Woman with a Mandolin or Portrait of Christine Nilsson (1874) Semur-en-Auxois (Mus. municipal): The Orchard; Young Boy from the Corot Family (c. 1850, oil on canvas); Portrait of Mme Baudot (1837) Senlis (Mus. d’Art et d’Archéologie): View in the Forest of Fontainebleau (c. 1830–1832) Shelburne: Bacchante with Panther (1860, reworked 1865–1870); Young Greek Woman (c. 1870–1873); Oriental Woman Dreaming (1870–1873) Springfield, MA (MFA): View near Naples (1841, oil on canvas) St Gall (Kunstmus.): View at Riva, Italian Tyrol (1834) St Petersburg (Hermitage): Peasant Woman Grazing Her Cow at the Edge of a Forest St-Lô (MBA): Homer and the Shepherds, Landscape (1845) Stockholm (Nationalmus.): Civita Castellana, Rocks with Trees (1826–1827, oil on board) Strasbourg (MBA): Pond at Ville-d’Avray; Bell Tower of the Church of St-Paterne at Orleans (c. 1840–1845, oil on canvas) Toulouse (MBA, Mus. des Augustins): Evening Star (1864);Morning Star (1864) Venice (Gal. d’Arte Moderna): Bois-Guillaume, near Rouen, Door Flanked by Two Pillars (1822) Vienna (Österreichische Gal. Belvedere): Young Woman Seated with Flowers in Her Hands or Madame Legois (c. 1842); Lake Nemi Seen through the Trees (1843) Vire: Corot’s Rock, Forest of Fontainebleau Washington, DC (Corcoran Gal. of Art): Bacchante with a Tambourine (1860); Green River Bank (c. 1860–1865); The Boatman Moored (1861 or 1864); Corot’s Studio (c. 1865–1868) Washington, DC (NGA): The Island and Bridge of San Bartolomeo, Rome (c. 1825–1828, oil on paper remounted on canvas); Agostina (1866, oil on canvas); other paintings, drawings, and engravings Williamstown (Sterling and Francine Clark Art Institute): Castel Sant’Angelo and Bridge with the Dome of St Peter’s (c. 1826–1827, oil on canvas); Louise Hardin in the Morning (1831); Young Girl in a Pink Skirt Zurich (Kunsthaus): La Cervara, the Roman Countryside (c. 1826–1827) Description: With thanks to Martin Diéterle and Claire Lebeau who have kindly confirmed the authenticity of this painting. A certificate of authenticity is available from them for this work Provenance: 18 February 1889, Vente Dobbé, no 23 in catalgoue (4 000 Fr) M. Bertin, acquired the lot at this sale Mr Potter Palmer acquired the work in 1909 Mnr Daminot acquired the work in 1935 The work has remained in a private collection until today Literature: Alfred Robaut - Léonce Laguet, L'oeuvre de Corot, catalogue raisonné et illustré - Tome III Paris, 1965, déscribed and reproduced pages 222 & 223 under the no 1935.

Creator:
Jean-Baptiste-Camille Corot (1796-1875, French)
Creation Year:
circa 1865
Dimensions:
Height: 12.25 in (31.12 cm)Width: 16.5 in (41.91 cm)
Medium:
Oil,Panel
Movement & Style:
Barbizon School
Period:
Mid-19th Century
Condition:
Very good condition.
Gallery Location:
Marlow, GB
Reference Number:
1stDibs: LU41533257243

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