Jean-Baptiste-Camille Corot

Mallet, Paris (by 1891)
Willis Vickery
Baron J. de Rothschild, Paris
Baron H. de Rothschild, Paris
Miriam D. Thropp, New York (sale: American Art Association, 19 January 1933, lot 68)
Durand-Ruel, New York
Arthur Sachs, Paris (by 1961)
Marian François-Poncet (by descent from the above); thence by descent
Private collection, USA

New York, Durand-Ruel, Exhibition of Important Paintings by French Masters, 1934, no. 6, illustrated in the catalogue (erroneously listed as Robaut no. 1805)
Paris, Musée Jacquemart-André, 100 Chefs-d'œuvre des collections françaises, 1961

Alfred Robaut, L'Œuvre de Corot: Catalogue raisonné et illustré, Paris, 1905, vol. III, p. 22, no. 1305, catalogued (as Marcoussis - Route à travers champs), p. 23, illustrated (reproduction of a drawing by Robaut)

The canvas has been lined and is securely attached to a keyed wooden stretcher. With the exception of some minor, isolated strokes of retouching in the extreme right framing edge and in the far upper left corner, possibly addressing some frame rubbing and old paint flaking, this work appears to be in very good condition and is ready to hang. Presented in a decorative gilt frame. Colours are somewhat less yellow than what the catalogue illustration suggests.
"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."

Painted circa 1865-70.

Along with Ville d'Avray, Marcoussis was one of Corot's favourite places to paint near Paris. Situated some twenty-five kilometres south of the capital, Marcoussis was the subject of one of six major works by Corot shown at the 1855 Paris Exposition Universelle. That work was bought by Emperor Napoleon III for his own personal collection, ignoring official advice, and now hangs in the Musée d'Orsay. Corot regularly travelled to Marcoussis to visit fellow artist Ernest-Joachim Dumax, including in the summers of 1855, 1857, and 1867. The present work was either painted during, or inspired by, one of these trips.

Depicting a serene summer's day, the view looks out from the edge of the village, towards one of the ridges of hills which border it on two sides. In contrast to Corot's souvenirs from this period - silvery poetic reminiscences of a particular place distilled through the imagination - the present work is very much set in time and place and, if not painted in the open air, was at least based on direct observation on the spot. The immediacy of the observed light and tonalities is striking.

Athough official recognition was a long time coming, by the late 1860s Corot was enjoying critical and popular success, not least thanks to the exhibition of seven key works at the Exposition Universelle of 1867. More than any other artist, Corot's work represents the bridge between the classical landscape of Poussin and early Impressionism. Pissarro (fig. 1) described himself as a pupil of Corot in the Salon brochures, as a measure of respect, and others did the same.