Corot, Jean Baptiste, Environs de Mur-de-barrez (Around Mur-de-barrez)
After an apprenticeship of five years in a drapery business, Corot studied painting from 1822 to 1825, first under the painter Michallon, then unde… [Read biography »]
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Jean Baptiste Corot, Unique original Jean Baptiste Corot oil painting on ledger paper, Environs de Mur-de-barrez (Around Mur-de-barrez)  |
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| Artist: | Corot, Jean Baptiste (1796 - 1875) |
|---|---|
| Title: | Environs de Mur-de-barrez (Around Mur-de-barrez) |
| Reference: | R.899; Lugt 613g |
| Medium: | Unique original Jean Baptiste Corot oil painting on ledger paper |
| Image Size: | 10 7/8 in x 8 3/8 in (27.6 cm x 21.3 cm) |
| Sheet Size: | 10 7/8 in x 8 3/8 in (27.6 cm x 21.3 cm) |
| Framed Size: | 25 3/4 in x 23 1/4 in (65.4 cm x 59 cm) |
| Signed: | Unsigned (as noted in the catalogue raisonné by V. Rienaecker, 1929) |
| Edition: | Unique original |
| Condition: | Very good condition with minor abrasions at sheet edges, not affecting the image. |
Price :Item# 2353 | $110,000  To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
This original oil on paper depicts the lush, serene landscape of the small provincial village of Mur-de-barrez, France. More widely known for his works of outdoor life, the central focus of this composition appears to be the large, fluffy white clouds which loom on the horizon. So softly executed against the afternoon sky, both the greenery and the clouds seem to meld into one large and peaceful French country setting. We also see two figures, their faces partly hidden as if to be enjoying Corot’s scenery alongside us. Of his process Corot once stated, “after my outings I invite Nature to come spend several days with me; that is when my madness begins. Brush in hand, I look for hazelnuts among the trees in my studio; I hear birds singing there, trees trembling in the wind; I see rushing streams and rivers laden with a thousand reflections of sky and earth; the sun sets and rises in my studio.” With collector’s stamp in black on the verso in the lower left, ‘C.P.’ According to F. Lugt (1988), this anonymous collector introduced a collection of works by J.B.C. Corot into the London art market in 1926, some of which were bought by the British Museum. Illustrated In: Provenance: About The Framing: | |
| Style: | Impressionist |
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Biography of Jean Baptiste Corot
Jean Baptiste Corot (1796 - 1875)
After an apprenticeship of five years in a drapery business, Corot studied painting from 1822 to 1825, first under the painter Michallon, then under the Classical landscape painter Victor Bertin, and copying works by Joseph Verner and others, including the 17th century Dutch masters. Convinced that "man can only be an artist when he has recognized in himself a strong passion for nature", he painted, or mostly sketched, outdoors, working in the forest of Fontainebleau, at Dieppe, Le Havre, Rouen and at Ville d' Avray where his father owned a house. His first visit to Rome from 1825 to 1828, which was to become decisive in his artistic development, produced a number of oil-studies painted from nature, views of historical Roman monuments and the scenery surrounding Rome. They are of an unusual freshness, catching the light and atmosphere of different times of the day with delightfully subtle variations in tonal values. The actual paintings based on these studies, for example, the "View of Narni" (Ottawa, National Gallery of Canada, 1826), painted for the 1827 Paris Salon, are in comparison rather formal, in the manner of the New Classicism. On his return from Italy, Corot worked in various parts of France. He also visited Italy again (in 1834 and 1843), and went to Holland (1854) and England (1862). His friendship in the late 1840s with the Barbizon painters Rosseau, Millet, Troyon and Dupre greatly influenced his art. Around this time he changed his style; his romantic-lyrical landscapes ("Paysages in times") interpret nature in her various moods, and in the most delicate dull silver tones. His landscapes had an inspiring influence on the Impressionists, who wished to include him in their first Exhibition.
After an apprenticeship of five years in a drapery business, Corot studied painting from 1822 to 1825, first under the painter Michallon, then under the Classical landscape painter Victor Bertin, and copying works by Joseph Verner and others, including the 17th century Dutch masters. Convinced that "man can only be an artist when he has recognized in himself a strong passion for nature", he painted, or mostly sketched, outdoors, working in the forest of Fontainebleau, at Dieppe, Le Havre, Rouen and at Ville d' Avray where his father owned a house. His first visit to Rome from 1825 to 1828, which was to become decisive in his artistic development, produced a number of oil-studies painted from nature, views of historical Roman monuments and the scenery surrounding Rome. They are of an unusual freshness, catching the light and atmosphere of different times of the day with delightfully subtle variations in tonal values. The actual paintings based on these studies, for example, the "View of Narni" (Ottawa, National Gallery of Canada, 1826), painted for the 1827 Paris Salon, are in comparison rather formal, in the manner of the New Classicism.
On his return from Italy, Corot worked in various parts of France. He also visited Italy again (in 1834 and 1843), and went to Holland (1854) and England (1862). His friendship in the late 1840s with the Barbizon painters Rosseau, Millet, Troyon and Dupre greatly influenced his art. Around this time he changed his style; his romantic-lyrical landscapes ("Paysages in times") interpret nature in her various moods, and in the most delicate dull silver tones. His landscapes had an inspiring influence on the Impressionists, who wished to include him in their first Exhibition.
