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Jean-Baptiste-Camille CorotLe Fermier de Pithiviers
About the Item
JEAN-BAPTISTE CAMILLE COROT
(PARIS, 1796 – PARIS, 1875)
Le Fermier de Pithiviers
Vers 1840
Huile sur toile
35 x 46 cm.
Signée en bas à droite
Certificat de la galerie Brame & Lorenceau.
Publication
Œuvre reproduite dans L’œuvre de Corot, catalogue raisonné et illustré, Alfred Robaut Paris, 1905, vol. II, pp. 222-223, n° 631.
Au centre d’une plaine plutôt aride, un cavalier à l’arrêt, nous tourne le dos. Devant lui, s’éloigne une charrette de foin précédée de deux autres cavaliers. Au loin, la ligne d’horizon dessine une frontière bleutée entre la terre et le ciel auquel elle cède les deux tiers de la composition. Un ciel blanc, dont les nuages gris s’épaississent en gagnant de la hauteur. Enfin, plus haut à droite, deux moulins surplombent une masse rocheuse d’un blanc crayeux. C’est donc ce fermier à cheval, campé au premier plan, ancré au sol par la seule ombre du tableau et paré des seules couleurs vives, qui nous fait rentrer dans l’œuvre. Son orientation de biais, soulignée par le sillon du chemin, indique à notre regard la voie à suivre, d’abord vers la charrette où deux autres cavaliers nous ramènent vers la droite, puis jusqu’au fond, là où la ligne d’horizon se fait plus sombre et où l’on distingue un clocher, Pithiviers? A droite, les moulins se font discrets presque ensevelis dans les cieux. Ce paysage aux accents désertiques, n’est pas sans nous faire penser à certains paysages orientalistes, comme ceux de Fromentin, que Corot aurait pu admirer au Salon.
- Creator:Jean-Baptiste-Camille Corot (1796-1875, French)
- Dimensions:Height: 13.78 in (35 cm)Width: 18.12 in (46 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Basel, CH
- Reference Number:1stDibs: LU2371211777892
Jean-Baptiste-Camille Corot
Corot was a French landscape and portrait painter as well as a printmaker who is considered a great master of landscape painting in the 19th century. A pivotal figure in landscape painting, his vast output (over 3,000 paintings) simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. In the spring of 1829, Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830. The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870.
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