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Lot Essay
Corot exhibited this work and two others, Souvenir d'Arleux-du-Nord and Le Soir at the Salon of 1874, where they were greeted with a high level of acclaim by the contemporary critics. Jules Castagnary proclaimed, 'And this Clair de lune? How often have you come across hollows more profound, or clarity of air, sky and water more thrilling? These scented banks exude the sensuality of amorous nights. One boat on this lake, and we will start reciting in unison the most inspired lines of our poets!' (Castagnary, 'Salon de 1874', in Castagnary 1892, vol. II, pp. 101-102.)
The most striking aspect of Clair de lune is its monochrome palette, which, because of its dark tonality was created by thin washes laid down in layers. Corot rarely depicted the night, and his decision to display this work at the Salon along with a morning scene (Arleux-du-Nord) and an evening scene (Le Soir) may have been inspired by the desire on the part of the artist to display the full range of his artistic ability.
Robaut knew this painting very well, and the mysterious figure hidden in the shadows on the right side of the painting baffled him. He noted, 'in the foreground, a seated woman in a pose that is hard to make out. She looks like she is touching her toes.' Indeed, in all the years since the Salon of 1874, this enigmatic figure still holds the mystery of her labor.
Clair de lune was painted in the twilight of the artist's career; however, Corot has lost none of his abilities, and perhaps by choosing such a difficult scene, he is showing the world that he is still the master of light, shadow and the sheer poetry of art. The contrasts in the painting are striking - the left half a virtuoso handling of the effect of light upon water. The shimmering reflection of the moon lighting from below the shadowy figure in the boat and the hazily described building atop the promontory in the center of the painting all bear testament to the prowess of the artist. The night sky is described in an amazing palette of lavender, blue, grey and pink, adding to the luminosity of the half-clouded, but brightly shining moon. The contrast with the right hand side of the painting is startling, which although very dark, upon close inspection, is equally as detailed. The crouching figure is perhaps lost on first inspection of the painting, but the artist skillfully draws the viewers gaze to her by one quick brushstroke which illuminates her head covering. The eye is also drawn up into the darkness of the trees by the pale outline of the ghostly branches.
Corot was called 'a poet of the landscape' and nowhere is this more apparent than in Clair de lune.
This work has been authenticated by Martin Dieterle.
The most striking aspect of Clair de lune is its monochrome palette, which, because of its dark tonality was created by thin washes laid down in layers. Corot rarely depicted the night, and his decision to display this work at the Salon along with a morning scene (Arleux-du-Nord) and an evening scene (Le Soir) may have been inspired by the desire on the part of the artist to display the full range of his artistic ability.
Robaut knew this painting very well, and the mysterious figure hidden in the shadows on the right side of the painting baffled him. He noted, 'in the foreground, a seated woman in a pose that is hard to make out. She looks like she is touching her toes.' Indeed, in all the years since the Salon of 1874, this enigmatic figure still holds the mystery of her labor.
Clair de lune was painted in the twilight of the artist's career; however, Corot has lost none of his abilities, and perhaps by choosing such a difficult scene, he is showing the world that he is still the master of light, shadow and the sheer poetry of art. The contrasts in the painting are striking - the left half a virtuoso handling of the effect of light upon water. The shimmering reflection of the moon lighting from below the shadowy figure in the boat and the hazily described building atop the promontory in the center of the painting all bear testament to the prowess of the artist. The night sky is described in an amazing palette of lavender, blue, grey and pink, adding to the luminosity of the half-clouded, but brightly shining moon. The contrast with the right hand side of the painting is startling, which although very dark, upon close inspection, is equally as detailed. The crouching figure is perhaps lost on first inspection of the painting, but the artist skillfully draws the viewers gaze to her by one quick brushstroke which illuminates her head covering. The eye is also drawn up into the darkness of the trees by the pale outline of the ghostly branches.
Corot was called 'a poet of the landscape' and nowhere is this more apparent than in Clair de lune.
This work has been authenticated by Martin Dieterle.