.jpg?w=1)
拍品專文
Jean-Baptiste-Camille Corot was already familiar with the Forest of Fontainebleau, having visited many times before his travels to Italy, he continued to return to the area throughout his career to capture this much admired landscape. The present work is an exquisite example, not only of his innate ability to capture his local environs, but also his ability to translate onto his canvas the atmospheric effects of any given time of day.
Corot painted the present work at two different stages of his career, he started the work in 1845-1850; this was a period that marked the beginning of his fame and recognition in the eyes of the public and the establishment, culminating in his award of the Légion d’Honneur in 1846. He finished the work in his studio in the 1872, where it was seen and recorded in a sketch by Alfred Robaut, this sketch was later used to record this work in Robaut’s 1905 catalogue raisonnee of Corot’s oeuvre. It was not at all unusual for Corot to leave a painting unfinished for many years and finish it during a later period. The final composition therefore reveals stylistic evidence of Corot’s early work and his later mature style. The light-infused sky and flat crisp application of the paint signals Corot’s early experimentation with rendering a naturalistic landscape, while the looser brushwork in the trees, the greater tonal subtleties with the random punctuations of white pigment predominate his later work.
Recognition of Corot’s abilities as a leading landscape painter came not only from his patrons but from his peers; Gauguin wrote `Corot loved to dream, and in front of his paintings, I dream as well; and Van Gogh praised the `quietness, mystery and peace’ of Corot’s landscapes (quoted in J. Leighton, “After Corot,” Corot, exh. Cat., The South Bank Centre, London, p.30).
Corot painted the present work at two different stages of his career, he started the work in 1845-1850; this was a period that marked the beginning of his fame and recognition in the eyes of the public and the establishment, culminating in his award of the Légion d’Honneur in 1846. He finished the work in his studio in the 1872, where it was seen and recorded in a sketch by Alfred Robaut, this sketch was later used to record this work in Robaut’s 1905 catalogue raisonnee of Corot’s oeuvre. It was not at all unusual for Corot to leave a painting unfinished for many years and finish it during a later period. The final composition therefore reveals stylistic evidence of Corot’s early work and his later mature style. The light-infused sky and flat crisp application of the paint signals Corot’s early experimentation with rendering a naturalistic landscape, while the looser brushwork in the trees, the greater tonal subtleties with the random punctuations of white pigment predominate his later work.
Recognition of Corot’s abilities as a leading landscape painter came not only from his patrons but from his peers; Gauguin wrote `Corot loved to dream, and in front of his paintings, I dream as well; and Van Gogh praised the `quietness, mystery and peace’ of Corot’s landscapes (quoted in J. Leighton, “After Corot,” Corot, exh. Cat., The South Bank Centre, London, p.30).