Jean-Baptiste-Camille Corot (French, 1796-1875)
Property from a Private New York Estate
Jean-Baptiste-Camille Corot (French, 1796-1875)

Prairie au bord d'une rivière

Details
Jean-Baptiste-Camille Corot (French, 1796-1875)
Prairie au bord d'une rivière
signed 'COROT' (lower left)
oil on canvas
15 ¼ x 25 5/8 in. (38.7 x 65.1 cm.)
Painted circa 1865-70.
Provenance
The artist.
with Galerie Durand-Ruel et Cie., Paris, acquired directly from the above, 1872.
Anonymous sale; Paris, 7 December 1876, lot 14.
Eugène Le Roy, Paris, 1902.
with Edward Silva White, London, by 1904.
with Boussod, Valadon et Cie., Paris, acquired directly from the above, 29 February 1904, as Ramasseuses d'herbes près rivière.
with Kraushaar Gallery, New York, acquired directly from the above, 20 June 1904.
Jacob Epstein (1864-1945), Baltimore, by 1924.
with M. Knoedler & Co., New York, acquired directly from the above, 31 January 1924.
with John Levy Galleries, New York, acquired directly from the above, 6 January 1925.
Anonymous sale; Sotheby Parke-Bernet, New York, 28 May 1981, lot 70.
Private collection, Japan.
Anonymous sale; Christie's, New York, 19 November 1998, lot 200.
Acquired at the above sale by the present owner.
Literature
A. Robaut, L'Œuvre de Corot, catalogue raisonné et illustré, Paris, 1905, vol. III, pp. 190-191, no. 1762, illustrated.
Exhibited
New York, Wildenstein & Co., The Serene World of Corot, 11 November-12 December 1942, p. 42, no. 61, illustrated, as La Prairie.

Lot Essay

Théodore Duret best defined a key quality of Corot’s art in the 1860s when he noted that the painter fixed on canvas not only the visual spectacle before him, but also ‘the exact sensation of something he experienced’ (T. Duret, Les peintres français en 1867, Paris, 1867, p. 27). Théodore de Banville expressed this observation perfectly when he wrote, ‘This is not a landscape painter, the is the very poet of landscape…who breathes the sadness and joys of nature…The bond, the great bond that makes us the brothers of brooks and trees, he sees it; his figures, as poetic as his forests, are not strangers to the woodlands that surrounds them. He knows, more than anyone, he has discovered all the customs of boughs and leaves; and now that he is sure that he will not distort their inner life, he can dispense with all servile imitation (T. de Banville, ‘Le Salon de 1861’ Revue fantanstique 2, 1 July 1861, pp. 235-236).
Painted 1865-1870, Prairie au bord d’une rivière is an exquisite example by the master at the height of his powers. Corot captures perfectly one moment in time. The depth of the landscape is deftly created by the placement of the two figures working quietly in the foreground, while the cows grazing peacefully by the river running through the composition define the middle ground and the farm buildings perched upon the hilltop create the background of the painting. These elements all serve to draw the eye of the viewer gently through the landscape, creating the essence of the quiet French countryside on a hot afternoon. There is a serenity that pervades the composition and the viewer is invited into a world colored only by the light at the height of the day.

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