Although he painted biblical and mythological subjects, as well as portraits, Corot is recognized above all as one of the supreme masters of the nineteenth-century landscape. His plein-air (out of doors) technique taught him to appreciate the changing effects of light, which can be seen to great advantage in this painting. The atmospheric mood evoked here, at sunrise, aptly illustrates a quote from Corot describing his work: “To get into my landscapes, you need to have the patience to wait for the haze to lift; you can enter them only by slow degrees and once you are there, let’s hope, enjoy them.”
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- Titles Nymphes et Faunes (Nymphs and Fauns) (Proper)
- Artist Jean-Baptiste-Camille Corot, French, 1796 - 1875
- Medium oil on canvas
- Dimensions 21 1/4 x 35 7/16 in. (54 x 90 cm) frame: 30 1/4 × 40 1/2 × 1 5/8 in. (76.8 × 102.9 × 4.1 cm)
- Credit Line Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Purchase with funds provided by C. Caldwell Marks in memory of Jeanne V. Marks, AFI.10.2004
- Work Type painting
- Classification Paintings
- On View
- Inscription Verso, vertical strainer, center, blue pencil: 12375 Verso, vertical strainer, center, black ink: D. 16.497 / Corot Nymphes et Faunes / 54 x 80 / signé à droite Verso, horizontal strainer, center right, blue pencil: FVC / 2210C Verso, frame, top rail, upper left, label: Jean-Baptiste-Camille Corot (1796-1875) / Nymphes et / Faunes, ca. 1870 / oil on canvas, 54 x 90 cm / #17697 Verso, frame, top rail, center left: Gander & White / Client #49 / Item No. 21 [crossed out]
- Provenance Euge`ne Disant; auctioned at his sale, Reims, France, May 26, 1870, lot 14; purchased by dealer Gustave Tempelaere (1840-1904), Paris, 1870 [see note 1]. Dealer Charles Sedelmeyer, Paris [see note 2]. Otlet, Brussels, possibly by 1882, definitely by 1889 [see note 3]; purchased by dealer Boussod, Valadon et Cie, Paris, March 3, 1892 [see note 4]; purchased by Auban Moët, May 10, 1892 [see note 5]. Auban-Monet, Paris, 1908. Dealer Arnold & Tripp, Paris, 1917. Thomas Bomberghen, Paris, 1921; inherited by his daughter, Comtesse Clauzel. Baronne Vautier, Paris, 1952. Private collection, Geneva; dealer Artemis Fine Arts, Inc. New York; purchased by the Birmingham Museum of Art, Alabama, December 2004
1. Gustave Tempelaere is known through Alfred Robaut. L'Oeuvre de Corot: Catalogue Raisonné et illustré. Vol. 3. Paris: H. Floury, 1905. No. 2198.
2. Provenance of Charles Sedelmeyer listed in Boussard, Valadon et Cie stock book 13, page 82, row 6, stock no. 22103 (Called Goupil Book 13 at the Getty Research Institute). Sedelmeyer could have possessed the work prior Euge`ne Disant or Gustave Tempelaere.
3, The date of 1882 is provided by Robaut, 1905, no. 2198. In 1898, a “M. Otlet” lent numerous Corots, including AFI.10.2004, to the Exposition Centennale de l'Art Français at the Exposition Universelle de 1889, Paris, May 6, 1889 - November 6, 1889, no. 186.
4. Boussard, Valadon et Cie stock book 13, page 82, row 6, stock no. 22103.
5. Boussard, Valadon et Cie stock book 13, page 82, row 6, stock no. 22103. Robaut, 1905, no. 2198, provides a different year: “Mme Auban, Paris, 1893.”
6. Provenance of “Auban-Monet, Paris, 1908” through the “private collection, Geneva” is known through information provided by Artemis Fine Arts, Inc. to the Birmingham Museum of Art at the time of sale.