Lot 320
  • 320

Jean-Baptiste-Camille Corot

Estimate
60,000 - 80,000 GBP
bidding is closed

Description

  • Jean-Baptiste-Camille Corot
  • femme a pied
  • oil on canvas

  • 31.7 by 23cm., 12½ by 9in.

Provenance

Vose Galleries, Boston
Purchased from the above by an American collector circa 1927-30
Sale: Barridoff Galleries, Portland, Maine, 8 August 2001, lot 124
Purchased at the above sale by the present owner

Condition

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The canvas has been lined and this is ensuring an even and secure structural support. Paint Surface The paint surface has an even varnish layer and the only retouching that is visible under ultraviolet light is one very small area in the lower right of the background. Summary The painting would therefore appear to be in very good and stable condition and no further work is required.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Femme à pied exhibits the dichotomy between Corot's stylistic naiveté and technical sophistication, making use of a subtle palette punctuated by the vibrant red of the small flowers held by the figure and adorning her dark hair. These flowers cascade down to the woman's feet, pulling her into the context of a landscape, painted with the artist's distinctive feathery brushstrokes.

Painted between 1840 and 1850, the present work is a fine example of the portrait and figural works Corot completed in his career. Taking a plein air attitude within his studio, Corot depicted the very same effects of light on a subtly moving and changing subject, that would distinguish his landscapes' impact on Impressionism some two decades later.

One of the greatest lights of the Impressionist movement, Edgar Degas, would even state when pressed to agree about Corot's skills in drawing a tree: 'Yes, indeed... and I find his figures yet superior' (quoted in Alfred Robaut, L'Oeuvre de Corot, Paris, 1905, p. 254). The successful marriage between the two genres in the present work gives a sense of intimacy while simultaneously incorporating the well-known aspect of Corot's landscapes.