DOI Heft:
No. 117 (November, 1906)
DOI Artikel:Halton, Ernest G.: The collection of Mr. Alexander Young, 1, The Corots
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28250#0030
The Alexander Young Collection—/. The Corots
“NEAR FONTAINEBLEAU
daringly in the foreground, is admirable. The
View near a Farm (p. io) is a well-composed and
broadly-painted example; it is harmonious in
colour, and displays a rare sense of the balance
of tones. Here again the treatment of the foliage
is well worthy of careful study, the slender trees to
the left being particularly interesting.
A somewhat remarkable picture is A Spring
Morning (p. 17), which, but for certain unmis-
takable signs in the treat-
ment of the foliage to the
left, might, at first glance,
be attributed to Daubigny.
It is not unlikely that
Corot painted this land-
scape when he was on one
of his visits to his friend,
under whose direct in-
fluence it appears to have
been executed. On the
Bank of the River (p. 22)
is another subject which
would have appealed to
Daubigny, who would
doubtless have done more
justice to it, for it does not
show Corot at his best.
The composition lacks
balance, while the colour
scheme of pale blue and
grey gives an impression
of thinness seldom felt in
16
his work. The canvas
seems cold and empty
and misses that touch of
romanticism so charac-
teristic of the master.
The Souvenir dPtalie
has already been men-
tioned. Conceived in a
true poetic spirit, it reveals
that wonderful combina-
tion of nature and art
which is the peculiar
charm of Corot’s work.
Poetic also is The Glade
(p. 4), with its rich tones
of brown and green, and
the delightful little view,
bathed in light, seen
through the trees. The
Chateau de Pierrefonds
(p. 18) is of fine quality
and one of the most
attractive compositions in the group. The tender
silvery tone of the water is peculiarly Corot’s, while
the distant view is full of subtle beauty. Of good
quality, too, is The Pool (p. 4), with its luscious
colouring in the trees and foreground. It is strongly
painted and the play of light on the water is cleverly
rendered. Corot’s weakness in depicting animals is
obvious in this picture, for the dog, though taking
its place well in the composition, is poorly drawn.
BY J. B. C. COROT
'SOUVENIR DE PICARLIE
BY J. B. C. COROT
“NEAR FONTAINEBLEAU
daringly in the foreground, is admirable. The
View near a Farm (p. io) is a well-composed and
broadly-painted example; it is harmonious in
colour, and displays a rare sense of the balance
of tones. Here again the treatment of the foliage
is well worthy of careful study, the slender trees to
the left being particularly interesting.
A somewhat remarkable picture is A Spring
Morning (p. 17), which, but for certain unmis-
takable signs in the treat-
ment of the foliage to the
left, might, at first glance,
be attributed to Daubigny.
It is not unlikely that
Corot painted this land-
scape when he was on one
of his visits to his friend,
under whose direct in-
fluence it appears to have
been executed. On the
Bank of the River (p. 22)
is another subject which
would have appealed to
Daubigny, who would
doubtless have done more
justice to it, for it does not
show Corot at his best.
The composition lacks
balance, while the colour
scheme of pale blue and
grey gives an impression
of thinness seldom felt in
16
his work. The canvas
seems cold and empty
and misses that touch of
romanticism so charac-
teristic of the master.
The Souvenir dPtalie
has already been men-
tioned. Conceived in a
true poetic spirit, it reveals
that wonderful combina-
tion of nature and art
which is the peculiar
charm of Corot’s work.
Poetic also is The Glade
(p. 4), with its rich tones
of brown and green, and
the delightful little view,
bathed in light, seen
through the trees. The
Chateau de Pierrefonds
(p. 18) is of fine quality
and one of the most
attractive compositions in the group. The tender
silvery tone of the water is peculiarly Corot’s, while
the distant view is full of subtle beauty. Of good
quality, too, is The Pool (p. 4), with its luscious
colouring in the trees and foreground. It is strongly
painted and the play of light on the water is cleverly
rendered. Corot’s weakness in depicting animals is
obvious in this picture, for the dog, though taking
its place well in the composition, is poorly drawn.
BY J. B. C. COROT
'SOUVENIR DE PICARLIE
BY J. B. C. COROT