Théodore Rousseau

Possibly the artist’s studio (and sold, La vente qui aura lieu par suite du décés de Théodore Rousseau, Hôtel Drouot, Paris, April 27, 1868, possibly as lot 26 (as Troupeau de vaches passant une mare, ébauche à l’huile rehaussée de pastel fixé)
Possibly Bouneau Collection (the artist’s cousin)
Antony Roux, Paris (and sold, his sale, Galerie Georges Petit, Paris, May 19, 1914, lot 41)
Strolin (acquired at the above sale and sold, Hôtel Drouot, Paris, July 7, 1921, lot 23)
Aubry Collection (1939)
Acquired by the present owner in 2013

Prague, Galerie Dr Feigl, Les maîtres de Barbizon, April - May 1933, no. 23 (as Landschaft bei Gué)
Paris, Galerie Charpentier, Paysages d’eau douce, 1945, no. 133

Alfred Sensier, Souvenirs sur Théodore Rousseau, Paris, 1872, p. 270

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This work has not been recently restored and would certainly benefit from some attention. The canvas is unlined. The cracking has become slightly raised, particularly in the heavier pigment in the sky. Almost all of the condition issues can be found in the sky. The upper right shows two small punctures, which are unrestored. There is an old filling and probably a small break to the canvas in the upper center, which runs about 1 ½ inches horizontally. From the upper center running horizontally towards the upper left, there are two parallel thin breaks in the canvas measuring about 12 inches. There is another break of about 3 inches square in the upper left near the upper left edge. There are reinforcements on the reverse of the upper center and upper left corresponding to these structural damages. There are clearly visible pentimenti in the sky. Under ultraviolet light, one can see three or four broad areas of retouching in the profiles of trees against the sky in the upper right, which seem to be cosmetic in nature. However, there may also be some cosmetic restoration throughout the sky beneath the yellowed varnish which is not visible under ultraviolet light, addressing original pentimenti that correspond to changes in the positions of some of the trees. Some of the outlines of the cows may have conceivably been strengthened, but this seems unlikely. The remainder of the picture is quickly sketched out by the artist. The visible thinness and scraping to the paint layer is all intentional. Throughout the work, the artist's technique remains visibly effective and clear. If the picture were fully cleaned, and the paint layer stabilized and reinforced where necessary, the work would become considerably more lively. Although the pentimenti in the sky would presumably become more visible, this would not detract from the character of the work.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

It is likely that Vaches à la mare dans le Berry was executed during Rousseau’s stay in Berry circa 1845-50. The hazy atmosphere Rousseau captures is exactly that of this pastoral region, forested and humid, and at the time dotted with ponds and streams (as was the forest of Fontainebleau). Rousseau returned to this landscape in works such as Chaumière près de l'étang (fig. 1, see Michel Schulman, Catalogue raisonné de l’œuvre peint, Paris, 1997, p. 193, no. 294), with its identical cluster of trees, pond and village church tower visible on the horizon. The artist’s characteristic use of expressive line and exaggerated silhouette to form the cattle in the present work is very modern. It can be seen in his drawings such as Sortie de forêt (Musée du Louvre, Paris) and in his graphic work, depicting ancient rocks jutting from the floor of the Forest of Fontainebleau. As Alfred Sensier wrote, “[Rousseau] was a gifted genius because he could see nature from its brilliant and harmonious side, with its powerful colors, and the nervous and precise expression of its configuration” (Alfred Sensier, Souvenirs sur Théodore Rousseau, 1872, p. 377).

Rousseau was on a constant quest for innovation, mixing materials and experimenting with technique, rendering complex compositions with interesting surfaces. Here, the dry drawing medium is combined with wet, a rarity in his oeuvre; the closest example is Bords de l’Oise, a graphic 1860s composition where both pencil and oil are used (fig. 2, see Michel Schulman, Catalogue raisonné de l’œuvre peint, Paris, 1997, p. 335, no. 665).  With Vaches à la mare dans le Berry, Rousseau synthesize forms within the landscape. Rocks, animals, and trees do not appear in accordance with their individual details, but instead are recorded as mass and volume, distinguished by the texture of his masterful brushstrokes. These elements have combined to make for a modern and relatively avant-garde painting. While an exceptional painter and draughtsman, Rousseau’s brilliance lies in his abilities as a colorist. He anticipates the Impressionists and is among the first to have captured the nuanced light found at different times of day, recording fleeting moments on canvas. While Vaches à la mare dans le Berry may initially read as monochrome, Rousseau’s careful distillation of light and tone is precisely the work’s essence.

By the early twentieth century, Vaches à la mare dans le Berry was in the collection of Antony Roux, a great nineteenth century painting and sculpture collector, famous for his prestigious ensemble of works by Auguste Rodin, Gustave Moreau, Antoine-Louis Barye, Jean-Baptiste-Camille Corot and Félix Ziem, among others.

While the majority of works offered in Rousseau’s posthumous sale bear its stamp, the present work does not. Michel Schulman has noted that some pictures were invariably left out of the stamping process or have been modified with restoration over time; however, he cannot confirm the atelier provenance for the present work.  Brame & Lorenceau have included the atelier provenance in their letter of authentication, which accompanies this work.