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Lot Essay
Narcisse-Virgile Diaz de la Peña was born to Spanish immigrant parents on 20 August 1807 in Bordeaux. Diaz's artistic training was as a porcelain painter and he studied briefly with the painter Souchon. His early paintings catered to the popular taste for 18th Century style Rococo and resulted in financial success for the young artist. Fêtes galantes were favorite subjects and the women depicted in Diaz's canvases were often cloaked in exotic Turkish garb, reflecting the artist's admiration for Delacroix and his Orientalist followers. Indeed Diaz's first Salon entry in 1831 was titled Scène Amour.
Diaz first visited Barbizon in 1835 and it was in 1837 that he met Rousseau. The influence of Rousseau could be seen in Diaz's Salon entry of that year depicting a view of Fontainebleau Forest. Through the 1840's, his figure paintings continued to be the major part of his work, and are thought to have influenced the female subjects of Corot, Renoir and certainly Monticelli.
Though figure painting would always remain important for Diaz, it is his landscapes of the 1850's, particularly of Fontainebleau Forest for which the artist is most remembered. Recognized as a superb colorist in his own day, his forest interiors are richly painted with warm browns, oranges, golds and silvery tree trunks and branches. Though the artist often applied paint loosely with a broad palette knife, his observation of nature was nevertheless keen. A regular exhibitor at the Salon, in 1848 Diaz won a first-class medal, and in 1881 he received the Legion d'honneur. A good-natured and generous man, Diaz's financial success enabled him to lend a helping hand to his friends when in need such as Troyon, Rousseau and Millet.
Pierre Miquel will include this work in his forthcoming catalogue raisonné as no. 1651 bis.
Diaz first visited Barbizon in 1835 and it was in 1837 that he met Rousseau. The influence of Rousseau could be seen in Diaz's Salon entry of that year depicting a view of Fontainebleau Forest. Through the 1840's, his figure paintings continued to be the major part of his work, and are thought to have influenced the female subjects of Corot, Renoir and certainly Monticelli.
Though figure painting would always remain important for Diaz, it is his landscapes of the 1850's, particularly of Fontainebleau Forest for which the artist is most remembered. Recognized as a superb colorist in his own day, his forest interiors are richly painted with warm browns, oranges, golds and silvery tree trunks and branches. Though the artist often applied paint loosely with a broad palette knife, his observation of nature was nevertheless keen. A regular exhibitor at the Salon, in 1848 Diaz won a first-class medal, and in 1881 he received the Legion d'honneur. A good-natured and generous man, Diaz's financial success enabled him to lend a helping hand to his friends when in need such as Troyon, Rousseau and Millet.
Pierre Miquel will include this work in his forthcoming catalogue raisonné as no. 1651 bis.