Jean-Baptiste-Camille Corot French, 1796-1875 La Tour Dans Les Arbres (Soleil Couchant), 1865 French, 1796-1875 La Tour Dans Les Arbres (Soleil Couchant), 1865 Signed Corot (ll) Oil on beveled panel 7 3/4 x 9 7/8 inches (19.7 x 25 cm) Provenance: Mlle. Trouillet, gift from the artist With Arnold & Tripp, London, 1890 M. Tempelaere, circa 1895 Private collection, London Newhouse Galleries, New York Mr. and Mrs. F. Howard Walsh, Fort Worth, TX Walsh Family Art Trust Literature: A. Robaut, L'Oeuvre de Corot, Catalogue raisonne et illustre, Paris, 1965, vol. III, no. 1607, pp. 126-127, illus. La Tour Dans des Arbres was painted at the height of Corot's career, at a time when his command of outdoor light and atmospheric effects reached its full maturity. During this period the artist was enthralled by the pastel colors and darkening shades of the early evening, and his delicate treatment of the twilight as it spreads across the landscape in this work epitomises this fascination. Here, a brooding foreground of deeply shaded browns and greens is suddenly crossed by the figure of a woman, whose red skirt and white headscarf strike a note of contrast that leads the eye toward the sonorous pinks and oranges of the distant sky. In his catalogue raisonné of Corot's work, Alfred Robaut relates that, while working on this particular panel, the artist became so absorbed in the piece that he did not notice that night was swiftly falling. Suddenly, it was too dark to distinguish the colors in his paint box; to finish the painting, he quickly added the woman on the hillside, having no idea what colors he had used until the following day. Works like La Tour Dans Les Arbres, with its almost Romanic sensibility, created Corot's reputation as "the poet of the landscape," and indeed caused him to be reveared as the most important landscape painter of his day. C Property of a New York Collector
Frame rubbing. 1 inch hairline split in panel at the upper right corner edge, with corresponding thin line of inpainting. Scattered inpainting along the top and right edges. Several tiny spots of inpainting scattered within the painting. No further apparent restoration.
Jean-Baptiste-Camille Corot French, 1796-1875 La Tour Dans Les Arbres (Soleil Couchant), 1865 French, 1796-1875 La Tour Dans Les Arbres (Soleil Couchant), 1865 Signed Corot (ll) Oil on beveled panel 7 3/4 x 9 7/8 inches (19.7 x 25 cm) Provenance: Mlle. Trouillet, gift from the artist With Arnold & Tripp, London, 1890 M. Tempelaere, circa 1895 Private collection, London Newhouse Galleries, New York Mr. and Mrs. F. Howard Walsh, Fort Worth, TX Walsh Family Art Trust Literature: A. Robaut, L'Oeuvre de Corot, Catalogue raisonne et illustre, Paris, 1965, vol. III, no. 1607, pp. 126-127, illus. La Tour Dans des Arbres was painted at the height of Corot's career, at a time when his command of outdoor light and atmospheric effects reached its full maturity. During this period the artist was enthralled by the pastel colors and darkening shades of the early evening, and his delicate treatment of the twilight as it spreads across the landscape in this work epitomises this fascination. Here, a brooding foreground of deeply shaded browns and greens is suddenly crossed by the figure of a woman, whose red skirt and white headscarf strike a note of contrast that leads the eye toward the sonorous pinks and oranges of the distant sky. In his catalogue raisonné of Corot's work, Alfred Robaut relates that, while working on this particular panel, the artist became so absorbed in the piece that he did not notice that night was swiftly falling. Suddenly, it was too dark to distinguish the colors in his paint box; to finish the painting, he quickly added the woman on the hillside, having no idea what colors he had used until the following day. Works like La Tour Dans Les Arbres, with its almost Romanic sensibility, created Corot's reputation as "the poet of the landscape," and indeed caused him to be reveared as the most important landscape painter of his day. C Property of a New York Collector
Frame rubbing. 1 inch hairline split in panel at the upper right corner edge, with corresponding thin line of inpainting. Scattered inpainting along the top and right edges. Several tiny spots of inpainting scattered within the painting. No further apparent restoration.
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