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Lot Essay
In 1851, after the death of his mother in February, Corot traveled to Arras, Brittany and Normandy (fig. 1). In July, he went to La Rochelle with his friends Brizard and Comairas, lodging with a local merchant and painting frequently with his friends. After staying in La Rochelle for three weeks, the artist returned to Paris with one oil painting, Vue du port de La Rochelle (fig. 2) and several oil studies, entirely painted on-site. This group of La Rochelle images has been largely regarded as the most Impressionistic of Corot's oeuvre. Like Vue du port de La Rochelle, L'abreuvoir is executed in the cool tonality which sets it apart from the rest of Corot's work.
Pierre-Auguste Renoir saw the La Rochelle studies and in 1918 he told the art dealer Rene Gimpel: 'There you have the greatest genius of the century, the greatest landscape artist who ever lived. He was called a poet. What a misnomer! He was a naturalist. I have studied ceaselessly without ever being able to approach his art. I have often gone to the places where he painted: Venice, La Rochelle, ah, what trouble they've given me! It was his fault, Corot's, that I wanted to emulate him. The towers of La Rochelle - he got the color of the stones exactly, and I could never do it.' (Gimpel, 1963, entry for March 20th, 1918, p. 28).
This work has been authenticated by Martin Dieterle.
(Fig. 2) Jean-Baptiste-Camille Corot, Vue du port de La Rochelle, 1851. (Yale University Art Gallery, New Haven).
(Fig. 1) Grandguillaume. Corot in Arras in 1859, Published in Robaut 1905, vol. 4, p. 308.
Pierre-Auguste Renoir saw the La Rochelle studies and in 1918 he told the art dealer Rene Gimpel: 'There you have the greatest genius of the century, the greatest landscape artist who ever lived. He was called a poet. What a misnomer! He was a naturalist. I have studied ceaselessly without ever being able to approach his art. I have often gone to the places where he painted: Venice, La Rochelle, ah, what trouble they've given me! It was his fault, Corot's, that I wanted to emulate him. The towers of La Rochelle - he got the color of the stones exactly, and I could never do it.' (Gimpel, 1963, entry for March 20th, 1918, p. 28).
This work has been authenticated by Martin Dieterle.
(Fig. 2) Jean-Baptiste-Camille Corot, Vue du port de La Rochelle, 1851. (Yale University Art Gallery, New Haven).
(Fig. 1) Grandguillaume. Corot in Arras in 1859, Published in Robaut 1905, vol. 4, p. 308.