Claude-Joseph Vernet

Collection Diert from a label on the back of the canvas

F. Ingersoll-Smouse, Joseph Vernet, peintre de marine, vol. II, Paris, 1926, cat. 1951

A l'oeil nu : Le tableau apparaît dans un état de conservation très satisfaisant. L'oeuvre a fait l'objet d'une rentoilage ancien très correctement réalisé. On remarque de petits points de litharge mais qui ne gênent pas la lecture de l'oeuvre. Le tableau est toujours sous un vernis très légèrement sale. A la lampe U.V. : Le tableau apparaît sous un vernis vert uniforme. On ne remarque pas de restauration. To the naked eye : The paintings appears in a very satisfactory condition. It has been anciently relined ; the relining was correctly realized. We notice some tiny litharge points, which do not disturb the painting comprehension. The painting is still under a quite unclean varnish. Under U.V. light : The painting appears under a green uniform varnish. We do not notice any restoration.
"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."

It is one of those "shimmering paintings of life, a spectacle of the most beautiful human races", where one meets "uniforms, boats, ships crossing on waves of azure" that Gérard de Nerval evokes in his Voyage to the Orient¹; a narrative in which the author recounts his dazzlement by the seaside where he addresses himself as a spectator and at the same time a figure from a Vernet painting. He explains his incomprehension in front of these marine artworks, we know beforehand the emotional impact they will generate, but whose charm always functions. The sea paintings by Vernet are beautifully described here. Hence, well-known motifs such as the fisherman hunched by the heaviness of his nets he is hulling which can be found in his Sunset, Maritime of the Staatsgalerie in Stuttgart or in The Morning at Castellammare at the Hermitage, the woman carrying a basket in Fishermen along the Shore of the Nationalmuseum in Stockholm, the cylindrical tower of The Shipwreck at the Calvet Museum, Avignon, or the pink-laden skies do not fatigue as they present light and unique magic, along with these depictions, although familiar, are always exceptional.
Far from the Classical landscapes by Lorrain or Poussin, the landscape of this maritime is indeed that of an 18th century painter who rejects the past idealization for a very personal and sensitive interpretation. The landscape is no longer intellectualized as with Rubens or Rembrandt or perceived as a narration medium like with Annibale Carracci. However, it serves as a picturesque setting in which the artist's eye expresses oneself, opening the way to 19th century landscape which will become a subject itself. In regards to Nerval's question while facing his seaside "how to paint the impression you give to all dreamers, and which is nevertheless only the reality of an expected feeling?"², Joseph Vernet seems to have found a threaded response throughout his career with his sensible and delicate interpretations, of which we admire one of the best examples here.

1. Gérard de Nerval, Voyage en Orient, II, Paris 1851.
2. Ibid, p. 471.