Pâturage dans les marais (Souvenir des environs d'Amiens) by Jean Baptiste Camille Corot - 15 3/4 x 23 3/4 inches Signed french barbizon landscape cows figure plein air
Jean Baptiste Camille Corot
(1796 - 1875)

Pâturage dans les marais (Souvenir des environs d'Amiens)

Signed
Oil on canvas
15 3/4 x 23 3/4 inches

Painted c.1865-70

This painting has been examined and authenticated by Martin Dieterle.



Provenance
Arthur Stevens, Paris, 1881
Mrs. Mary J. Morgan (American Art Galleries, New York, March 3, 1886, Lot 133).
P.H. Sears Collection, 1889
Richard Sears, 1972
D. Young, New York, 1976
Anonymous (D. Young, Sotheby's, New York, October 30, 1980, Lot 206).
Richard Green, London (Sotheby's, New York, October 27, 1988, Lot 18).
Private Collection, Asia
Rehs Galleries, Inc., New York City
Private Collection, Indiana, 2004
Rehs Galleries, Inc., New York City

Exhibited
Paris, Ecole des Beaux-Arts, Exposition de l'oeuvre de Corot, 1875, No. 123.

Literature
The Century Illustrated Monthly Magazine, June 1889, Illustrated.
Robaut, A., L'oeuvre de Corot, catalogue raisonné et illustré, Paris, 1965, Vol. III, pp.216-217, No. 1903, Illustrated.

Comments on this work:

Dating from c.1865-70, Pâturage dans les marais was painted during one of the most creative and successful periods in the artist's career. During this five year period, Corot perfected the misty, often idyllic pastoral landscapes for which he became so revered. Corot was considered the leading landscape painter of the time, and the present work note only exemplifies his innate ability to capture his local environs, but his capability of poetically translating onto canvas the atmospheric effects of any given time of day.

In Pâturage dans les marais, Corot deftly captures the effects of the diffuse, pale sunlight. The figures and animals merge into the landscape and are in complete harmony with their surroundings. The critic Edmund About wrote: No artist has more style or can better communicate his ideas in a landscape. He transforms everything he touches, he appropriates everything he paints, he never copies, and even when he works directly from nature, he invents. As they pass through his imagination, objects take on a vague and delightful form. Colors soften and melt; everything becomes fresh, young and harmonious. One can easily see that air floods his paintings, but we will never know by what secret he manages to paint air (quoted in G. Tinterow, Corot, The Metropolitan Museum of Art, exhibition catalogue, pp.236-7).

It is generally recognized that Corot had a profound effect upon a number of younger artists who eventually became members of the Impressionist movement. Berthe Morisot was his student for a period of time, and Camille Pissarro described himself as a pupil in the Salon brochures. Corot's paintings were in great demand from collectors and dealers alike, and his studio was often crowded with critic, collectors, dealers and students who all clamored to see him work.