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211482458.Pdf UNKNOWNCOROT JILL NEWHOUSE Jean-Baptiste-Camille Corot Unpublished Drawings catalogue by Amy Kurlander expertise by Martin Dieterle Claire Lebeau Jill Newhouse Jill Newhouse Gallery 4 East 81st Street New York, NY 10028 Tel (212) 249-9216 email: [email protected] www.jillnewhouse.com This catalogue accompanies an exhibition on view from June 5 to July 13, 2012 Jill Newhouse Gallery 4 East 81st Street New York, NY 10028 Tel (212) 249-9216 email: [email protected] www.jillnewhouse.com acknowledgements I would like to thank everyone who has worked on this project. Martin Dieterle, my dear friend and mentor in the study of the work of Corot, has given me, and all of us in the art world, the great gift of his keen eye and generous spirit. A painter himself, he brings an instinctive accuracy to judgments of authenticity. His philosophical approach avoids preconception and is always open-minded. We have all learned greatly from him. Claire Lebeau has added her precision and her eye for nuance and detail, as well as her great patience in navigating the waters of authentication. Amy Kurlander wrote her doctoral dissertation on Corot and has added her scholarship to her deep understanding of Corot’s work. I would also like to acknowledge Dr. Margret Stuffmann and Dr. Dorit Schäfer whose major exhibition on the paintings and drawings of Corot opens in Karlsruhe in October 2012. Their ideas were inspirational in the organization of this show. Christa Savino keeps the gallery running, and to her I am endlessly grateful. Megan Wiessner, also in the gallery, complied Corot’s chronology and handled the details of the loans. Bob Lorenzson has been the gallery’s photographer and Larry Sunden has again organized the design and production of the catalogue. Paper conservation and condition reports were provided by Marjorie Shelley in particular, along with Alan Firkser and Alvarez Fine Art Services. Many of our colleagues have also been of great help and I would personally like to thank Patrick, Louis, Matthieu and Augustin de Bayser and Galerie de Bayser; Antoine Lorenceau, Galerie Brame et Lorenceau; Anisabelle and Florence Berès, Galerie Berès; Arturo and Corinne Cuéllar; Roy Davis and Cecily Langdale; Hubert Duchemin, and Robert Kashey, Shepherd Gallery. Lastly, numerous clients and friends of the gallery who have been kind enough to lend their drawings have asked to remain anonymous; my deepest gratitude to you all, without whom this exhibition would not have been possible. — J.N. Chronology Compiled by Megan Wiessner (For an extensive chronology, see Paris, Ottawa and New York 1996, pp. 409 ff.) 1796 Born July 17 in Paris. 1815–22 After completing secondary studies in Rouen and Poissy, apprentices with cloth merchants in Paris. Becomes more interested in art, however, and begins taking drawing lessons. 1817 His parents purchase a country house in Ville d’Avray. His future teacher Achille-Etna Michallon (1796–1822) wins the Grand Prix de Rome for historical landscape. 1822 His parents accept his decision to become an artist, and agree to provide a yearly income. Enters Michallon’s studio and spends the summer working outdoors at Fontainebleau, Saint-Cloud, and in Normandy before Michallon’s death in the fall. Joins the studio of landscape painter Jean-Victor Bertin (1767–1842) and works in Fontainebleau and Moret. 1823–24 Paints his first historical landscape,Orphée charme les humains. 1825 Begins his first voyage to Italy. Arrives in Rome in December, rents a room near the Piazza di Spagna, paints several views of the city and the Coliseum, and befriends other artists. 1826 Works along the Tiber and in the Farnese Gardens. Passes the greater part of the summer in the region of Civita Castellana; stays at Papigno in August and September. Returns to Rome in October. Journeys south of Rome to Lake Albano and Lake Nemi in November, and works in Tivoli in December. 1827 In Rome from January to April. Sends two paintings, Vue prise à Narni (National Gallery of Canada, Ottowa) and Campagne de Rome (Kunsthaus, Zurich) to the Salon. Journeys include Lake Albano, Civitella, the Subiaco region, and Civitella Castellana. Returns to Rome in November, and works on large paintings intended for the Salon during the winter of 1827–28. 1828 After a visit to Naples in the spring, and brief stays in Venice and Switzerland, returns to Paris in October. 1829 Visits Normandy and, for the first time, Brittany. Begins painting portraits of friends. Exhibits two Italian views at the Galerie Lebrun in Paris. 1830 Leaves Paris to escape the Revolution of 1830 and visits Chartres, Normandy, and the north of France. Frequents the forest of Fontainebleau, which he will continue to visit for the next two decades. 1833 Wins a second-class medal at the Salon for Vue de la forêt de Fontainebleau (also called Le Gué, R II, no. 257). Visits Normandy twice and paints more portraits of family members. 1834 Begins his second voyage to Italy in May. Visits sites in northern Italy, including San Remo, Genoa, La Spezia, Pisa, Volterra, Florence, Venice, the lake country, and Milan. Returns to Paris in late autumn. 1835 Exhibits Agar dans le désert (Metropolitan Museum of Art, New York) and Vue prise à Riva, Tyrol italien (Bayerische Staatsgemäldesammlungen, Munich) at the Salon. 1839 Un soir: paysage (J. Paul Getty Museum, Malibu) one of Corot’s two Salon paintings, inspires verses by Théophile Gautier. 1840 Exhibits four paintings at the Salon, including Un moine (Musée du Louvre, Paris) and Le Petit Berger (La Cour d’Or, Musées de Metz), which is bought by the State. 1843 The Salon jury accepts two works but rejects L’Incendie de Sodome, resulting in a protest of fellow artists on his behalf. Makes his third and final voyage to Italy between May and September, spending most of his time in or near Rome. 1844 Befriends Théodore Rousseau (1812–1867). Resubmits l’Incendie de Sodome, which is accepted by the Salon jury unchanged but with a new title, Le Destruction de Sodome (Metropolitan Museum of Art, New York). 1845 Visits family and friends, and resides often at Ville d’Avray. Enjoys a growing reputation and the admiration of Charles Baudelaire (1821–1867) and Théophile Thoré (1807–1869) at the Salon. In September, the City of Paris awards him a commission to paint an altarpiece for the church of Saint- Nicolas-du-Chardonnay (Le Baptême du Christ, R. 466). 1846 Continues to travel, spending time in Fontainebleau, Versailles, and Ville d’Avray. Named Chevalier of the Legion of Honor in July. 1847 Eugène Delacroix (1798–1863) visits his studio. Befriends the Arras-based painter and collector Constant Dutilleux (1807–1865), and passes most of the year at Ville d’Avray in order to care for his dying father. 1848–50 After the Salon jury is reformed, is repeatedly elected by his colleagues and begins to exhibit more paintings each year. The State purchases a number of these works, including Le Bain du Berger (Musée de la Chartreuse, Douai) and Le Christ au Jardin des Oliviers (Musée de Langres). 1851 Death of his mother. Begins to intensify his traveling and to regularly visit Dutilleux in Arras. 1852 At the home of Dutilleux, meets Alfred Robaut (1819–1909), Dutilleux’s future son-in-law and the future author of his catalogue raisonné. Befriends the painter Charles-François Daubigny (1817–1878). 1853 Begins to experiment with cliché-verre with the Arras photographers Louis Grandguillaume and Adalbert Cuvelier (1812–1871), the inventors of the technique. Designs more than 60 plates over the course of the next twenty years. 1854 Travels to Belgium and the Netherlands with Dutilleux. 1855 Exhibits six paintings at the Exposition Universelle and receives a first class medal. Emperor Napoleon III purchases Souvenir de Marcoussis (Musée d’Orsay, Paris). 1857 Exhibits an extensively reworked version of his Salon painting of 1844, Le Destruction de Sodome, under its orginal title, l’Incendie de Sodome, at the Salon. 1858 Places fifty-eight paintings at auction through the appraiser Thirault. Travels include trips to Normandy and Troyes. 1859 Sends a number of ambitious compositions showing figures in the landscape to the Salon. His work is increasingly sought by collectors and dealers and admired by a new generation of open-air painters, many of whom he mentors. 1862 Travels to London for the World’s Fair. Meets Gustave Courbet (1819–1877). Berthe Morisot becomes a student. 1864 Serves as a member of the jury at the Salon. Napoléon III purchases Souvenir de Mortefontaine (Musée du Louvre, Paris). 1865 Stays in Auvers-sur-Oise, Mantes, Fontainebleau, and Normandy. Death of Dutilleux. 1866 Napoleon III purchases Solitude (Private Collection) for his private collection. Paintings by Corot are exhibited in New York, Boston, and Philadelphia. 1867 Exhibits seven important paintings at the Exposition Universelle, receives a medal there and is named an Officer of the Legion of Honor. 1869 Exhibitions in London and Munich. Cancels most travel plans due to poor health. 1870 Working in his studio during the siege of Paris in the Franco Prussian war, he paints Paris incendié par les allemands (location unknown). 1872–74 Travels and paints continuously, exhibiting both at the Salon and abroad. 1875 Dies of stomach cancer at age 79 on February 22. A posthumous sale of his studio and his collection is held in May and June of that year, as is a large retrospective at the École des Beaux-Arts. Corot as Draftsman Amy Kurlander Over one hundred thirty years after the artist’s death, it is not easy to characterize Corot’s particular achievements in drawing. Exhibitions of Corot’s drawings have been infrequent, especially outside France, and to our knowledge ours is the first to be held in the United States.
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