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Charles François DaubignyLe Ruisseau Dans La Clairière (The Brook in the Clearing)1862
1862
$1,500
£1,123.97
€1,317.63
CA$2,100.74
A$2,354.57
CHF 1,232.65
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NOK 15,484.37
SEK 14,575.71
DKK 9,829.56
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Paris: 1862. Cliché-verre on lightweight photosensitive wove paper, 8 3/4 x 7 1/8 inches (220 x 180 mm) (sheet), full margins. Signed in the plate, lower right. Because this impression is printed on lightweight photosensitive paper, lacks a cancellation mark, and does not have 20th century publisher's seal; our opinion is that this is a lifetime impression. [Deltiel 137]
Daubigny was one of the first artists to explore the qualities of changing daylight and the effect it had on natural landscapes. In 1842 he began to travel frequently, and spent time in the woods of Fontainebleau and later in Burgundy, where he befriended Jean-Baptiste-Camille Corot. The two painted together in Switzerland and the Dauphiné. In 1857, Daubigny purchased a boat on which he built a floating studio. His mobile studio on the water gave him enormous freedom to select the optimal viewpoints for rendering landscapes in relation to shifting light, and he spent hours upon hours exploring the delights of the Oise, the Marne, and the Seine rivers.
In 1859 Daubigny received the Legion of Honor, and a year later he built a home and studio in Auvers. It was here that he focused on printmaking as a medium, largely in response to emerging criticism that his painted canvasses had become sketchy and dark. He found that etching fulfilled his stylistic inclinations, and he participated in an exhibition funded by the print publishing house Cadart in 1862. Subsequently Cadart became Daubigny's exclusive print publisher. Daubigny and his Barbizon School colleagues Corot, Rousseau, and Millet, had the opportunity to experiment with the completely new photographic reproductive process of cliché-verre. The Brook in the Clearing is an early example of one of these works.
The process of creating a cliché-verre combines painting, printmaking and photography. The image is brushed onto a glass plate with ink, then rubbed and burnished away in desired areas, forming the final composition. The glass plate is placed on photosensitive paper in a dark room, it's then exposed to daylight with the glass plate essentially acting as a photographic negative, and the image emerging through luminosity. Daubigny continued to explore the effects of light as he evolved the methods of its expression in his compositions. Unlike Corot, Rousseau, and Millet, it is thought that Daubigny did the lion's share of the printing of his cliché-verres himself. It's very likely Daubigny held this particular work in his hands.
- Creator:Charles François Daubigny (1817 - 1878, French)
- Creation Year:1862
- Dimensions:Height: 8.75 in (22.23 cm)Width: 7.125 in (18.1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:Seller: BH5951stDibs: LU1979210426622
Charles François Daubigny
Charles-François Daubigny, (15 February 1817 – 19 February 1878), Daubigny was born in Paris, into a family of painters and was taught the art by his father Edmond François Daubigny and his uncle, miniaturist Pierre Daubigny. Initially Daubigny painted in a traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature. Even more important was his meeting with Camille Corot in 1852 in Optevoz (Isère). On his famous boat Botin, which he had turned into a studio, he painted along the Seine and Oise, often in the region around Auvers. From 1852 onward he came under the influence of Gustave Courbet. In London he met Claude Monet, and together they left for the Netherlands. Back in Auvers, he met Paul Cézanne, another important Impressionist. It is assumed that these younger painters were influenced by Daubigny. Daubigny's finest pictures were painted between 1864 and 1874, and these for the most part consist of carefully completed landscapes with trees, river and a few ducks. It has been said that when Daubigny liked his pictures he added another duck or two, so that the number of ducks often indicates greater or less artistic quality in his pictures. He was named by the French government as an Officer of the Legion of Honor. Daubigny died in Paris in 1878.
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[Guiffrey 34]
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