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Lot Essay
'I am fine', Corot wrote to friend in 1871. 'I'm working as if I were seventy' (Corot, letter to Jean Rochenoir, 29 August 1871, quoted in Robaut, 1905, vol. IV, no. 211, p. 345). During the last ten years of his life, public affection for Corot deepened. His popularity had not waned toward the end of his career and collectors and dealers alike waited impatiently for his paintings to dry so they could be released from his studio. At the Salon he continued to be a success, although now that he was either on the jury or hors concours, his work was automatically accepted.
By the 1870s, Jean-Baptiste-Camille Corot was the recognized patriarch of French landscape painting. By this time, he had been painting and exhibiting for over fifty years. Jules Castagnary, Corot's longtime supporter and established art critic, delivered the following upon viewing two works by the artist in the Salon of 1873:
'If fame came to him late, talent did not. In the revolution begun by Constable's two paintings, he was there, enrolled with the innovators. He was the school born and saw it grow, himself developing and evolving through the double action of years of reflection... When one thinks that the hand that placed these deft touches carries the weight of seventy-seven years, such fortitude comes as a surprise and a marvel. The illustrious old man is the lone survivor of a vanished past.' (J. A. Castagnary, 'Salon de 1873' in Castagnary, 1892, vol. 2, p. 73).
In Un pêcheur à la ligne, souvenir du Pont de Mantes, Corot once again proves himself the perfect 'poet of the landscape'. The motif of a figure sitting quietly by a placid body of water arched by trees recurs often in the paintings of Corot's late career. In the present work, a fisherman sits patiently by the side of the river, his line cast. A figure on horseback fades quietly into the trees in the fading light of the day, the evening sky just tinged with the pinks and golds of sunset. The soft light lends a velvety texture to the trees and the surface of the river reflects the blues and pinks of the early evening sky. The bridge and distant village of Mantes shimmer in the middle distance, already fading into the rising dusk. The scene exudes the peace and tranquility of evening and is perhaps evocative of the waning years of the artist's life.
We are grateful to Martin Dieterle and Claire Lebeau for confirming the authenticity of this work.
By the 1870s, Jean-Baptiste-Camille Corot was the recognized patriarch of French landscape painting. By this time, he had been painting and exhibiting for over fifty years. Jules Castagnary, Corot's longtime supporter and established art critic, delivered the following upon viewing two works by the artist in the Salon of 1873:
'If fame came to him late, talent did not. In the revolution begun by Constable's two paintings, he was there, enrolled with the innovators. He was the school born and saw it grow, himself developing and evolving through the double action of years of reflection... When one thinks that the hand that placed these deft touches carries the weight of seventy-seven years, such fortitude comes as a surprise and a marvel. The illustrious old man is the lone survivor of a vanished past.' (J. A. Castagnary, 'Salon de 1873' in Castagnary, 1892, vol. 2, p. 73).
In Un pêcheur à la ligne, souvenir du Pont de Mantes, Corot once again proves himself the perfect 'poet of the landscape'. The motif of a figure sitting quietly by a placid body of water arched by trees recurs often in the paintings of Corot's late career. In the present work, a fisherman sits patiently by the side of the river, his line cast. A figure on horseback fades quietly into the trees in the fading light of the day, the evening sky just tinged with the pinks and golds of sunset. The soft light lends a velvety texture to the trees and the surface of the river reflects the blues and pinks of the early evening sky. The bridge and distant village of Mantes shimmer in the middle distance, already fading into the rising dusk. The scene exudes the peace and tranquility of evening and is perhaps evocative of the waning years of the artist's life.
We are grateful to Martin Dieterle and Claire Lebeau for confirming the authenticity of this work.