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十九世紀歐洲繪畫

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Jean-Baptiste-Camille Corot
1796 - 1875年
FREN
LES CONTREBANDIERS
signed COROT lower right
oil on canvas
86 by 101cm., 34 by 39¾in.
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The authenticity of this work has been confirmed by Martin Dieterle and Claire Lebeau.

來源

M. Faure (sale: Hôtel Drouot, Vente Faure, Paris, 7 June 1873, lot 5, illustrated in the sale catalogue)
Galerie Durand-Ruel, Paris (by 1873)
Galerie Georges Petit, Paris (by 21 February 1892)
Boussod, Valadon et Cie., Paris
H.J. van Wisselingh, The Hague (by 14 September 1897)
Van Eghen, Amsterdam (by 1897)
Arnold et Tripp (by 18 October 1907)
Robert von Mendelssohn, Berlin (by 5 March 1908); thence by descent (sale: Parke-Bernet, New York, 13 February 1958, lot 84)
Private Collection, Florida (purchased at the above sale); sale: Sotheby's, New York, 24 February 1988, lot 21
Sale: Christie's, New York, 26 October 2005, lot 228
Purchased at the above sale by the present owner

展覽

Paris, Palais Galliera, Exposition organisée au profit du monument du centenaire de Corot, 1895, no. 21
Munich, Moderne Galerie Thannhäuser, 1927

出版

Alfred Robaut, L'Œuvre de Corot: catalogue raisonné et Illustré, Paris, 1905, vol. III, p. 356, no. 2307, catalogued; p. 357, illustrated

相關資料

Painted circa 1871-72, Les Contrebandiers (The Smugglers) depicts two mounted riders herding a group of young horses through a verdant gorge. In the foreground, a pond reflects the stormy sky above.

Corot's lyrical landscapes were part of his self-confessed retreat from the external world. He expressed his lack of sympathy for much that was going on around him in artistic circles in a remark to Millet's biographer, Alfred Sensier, in 1857: ' This is for me a new world which I no longer recognise; I am too attached to the past...If you understand what I am saying, I want to make a new art for myself.' (quoted in Etienne Moreau-Nélaton, Histoire de Corot et ses oeuvres, Paris, 1905, p. 180).

This escapism accords perfectly with Corot's paintings of the 1860s and 1870s, be they his Salon pictures or the innumerable smaller works he also produced for an increasingly enthusiastic public. Corot was not alone in producing such ethereal visions of nature and in the 1860s there developed a considerable school of pastoral landscape painting in France, particularly in the environs of Paris, which had suffered from what some perceived to be its dehumanisation on account of the pulling down of the old quartiers and construction of the grands boulevards under Baron Haussmann.

Yet at the same time works such as the present one were as modern in their execution as they were escapist in their subject. Corot's observation of light based on sketches made en plein air, and his ability to capture an impression of the moment, make him an important precursor of what Edmond Duranty in 1876 termed 'The New Painting', in other words Impressionism, the roots of which, he claimed, 'lie in the work of the great Corot and his disciple Chintreuil' (E. Duranty, La Nouvelle Peinture - A propos du groupe d'artistes qui expose dans les galeries Durand-Ruel, Paris, 1876, quoted in Les écrivains devant l'impressionisme, Paris, 1989, p. 118).

十九世紀歐洲繪畫

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