Jean-Baptiste-Camille Corot (French, 1796-1875) Le rêveur dans la clairière

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Lot 12
Jean-Baptiste-Camille Corot
(French, 1796-1875)
Le rêveur dans la clairière

£ 70,000 - 100,000
US$ 96,000 - 140,000
Jean-Baptiste-Camille Corot (French, 1796-1875)
Le rêveur dans la clairière
oil on canvas
143 x 105cm (56 5/16 x 41 5/16in).

Footnotes

  • Provenance
    Léon Fleury Collection, Magny-les-Hameaux.
    Gustave Tempelaere, Paris, 1896.
    Anon. sale, Van Ham Kunstauktionen GmbH & Co. KG, Cologne, 16 November 2007, lot 1201.
    Acquired from the above sale by the present owner.

    Exhibited
    Wuppertal, Von der Heydt Museum, Auguste Renoir und die Landschaft des Impressionismus, 28 October 2007 - 27 January 2008.

    Literature
    L Robaut, L'oeuvre de Corot: catalogue raisonné et illustré, Paris, 1905, vol. III, no. 1615 (illustrated by line drawing p. 129).
    Dr. Gerhard Finckh, Auguste Renoir und die Landschaft des Impressionismus, exhibition catalogue, Von der Heydt Museum, Wuppertal, 2007 (illustrated p. 37).

    The present lot is one of four decorative panels which Corot started working on in 1856. They were painted on the walls of the home of his longstanding friend Léon Fleury, in Magny-les-Hameaux. In 1896 they were sold to renowned art dealer Gustave Tempelaere in Paris. The whereabouts of the other three works are unknown.

    By the early 1850s, Corot was well established as a successful artist, and as a result he was able to pursue a more expressive and decorative scheme for his paintings. Essentially, he would often favour the creation of atmospheric effect, using a controlled palette and soft, impressionist style over naturalism. The present lot belongs to a period in Corot's oeuvre that is often referred to as paysages lyriques and is evidence of his role in influencing a succeeding generation of Impressionist painters.

    A small figure - the dreamer, is seated in the foreground, engulfed by the poetic landscape of blurred, hazy trees and foliage. Like the figure depicted, the viewer can as easily become lost in their thoughts surrounded by the landscape Corot envisioned. Spontaneous and gestural brushwork creates a moody effect, where detail is not essential, rather, feeling is emphasised.

    Similar decorative schemes were painted by Corot throughout his career: in 1847, he completed panels for the summer house in his parents' garden at Ville d'Avray; between 1858-1860 for the studio of his friend, the painter Alexandre-Gabriel Decamps in Fontainebleau; for Charles François Daubigny's estate in Auvers-sur-Oise, and in 1865 for the town house belonging to Prince Demidoff.
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