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#0032
The Alexander Young Collection—/. The Corots
Quite different in senti-
ment is Primroses (oppo-
site), with its delicate
tones of silvery grey. Here
everything is fresh and
beautiful; the softly waver-
ing trees, the cool, green
grass, the distant meadow
flooded in sunlight, all re-
flect the joyous spirit of
the master ■ and it is easy
to understand how such
a scene would appeal
to Corot’s sunny nature.
There is a wonderful feeling
of light in this little pic-
“ PRIMROSES ”
Near Fontainebleau (p. 16), though quite a
small canvas, is very broadly handled, the trees in
the centre being particularly interesting in this
respect. The motif is the same as in several of the
pictures already described, but the execution is
somewhat different. As an example of romantic
impressionism, if such a term is permissible, it is
exceedingly interesting. An atmosphere of quiet
repose pervades the scene, giving to it a touch of
melancholy which has a certain charm of its own,
a charm not entirely appreciated until the picture
has been seen two or three times.
Conceived in the spirit of romanticism too is
The Pond (p. 20), a work fine in quality and
admirably composed. Without any suggestion of
mannerism, it is neverthe-
less a typical example
of that phase of Corot’s art
with which the public is
most familiar. A sense of
mystery reigns over these
dark, shadowy depths, while
a certain grandeur of ex-
pression adds to the effect.
The whole scene is bathed
in a vaporous atmosphere
which subdues all local
colour, giving to the canvas
a rich, harmonious quality
altogether agreeable. The
light in the sky penetrating
the thick foliage is just
sufficient to emphasise the
darker portions of the pic-
ture without interfering
with the general scheme. “the chateau de pierrefonds ” by J- b- c- corot
by j. b. c. corot ture ; indeed, it seems as if
the spirit of a bright spring
morning had entered into it.
Among the less important works we noticed
The Watering Place (p. 6), a small sketch, large in
treatment, and chiefly remarkable for the delicate
tints of the light clouds in the sky. Even in these
sketches we cannot fail to notice how Corot, in his
own inimitable manner, introduced his figures into
the composition merely as a subsidiary part of the
whole. Never does he give undue prominence to
them, and yet the picture would seem incomplete
without them. The Landscape Sketch (p. 11) is
well balanced, and was evidently done direct from
nature, and as such it has its interest. It was
probably a note of an effect which the artist made,
intending to carry it out at a later period, but we
Quite different in senti-
ment is Primroses (oppo-
site), with its delicate
tones of silvery grey. Here
everything is fresh and
beautiful; the softly waver-
ing trees, the cool, green
grass, the distant meadow
flooded in sunlight, all re-
flect the joyous spirit of
the master ■ and it is easy
to understand how such
a scene would appeal
to Corot’s sunny nature.
There is a wonderful feeling
of light in this little pic-
“ PRIMROSES ”
Near Fontainebleau (p. 16), though quite a
small canvas, is very broadly handled, the trees in
the centre being particularly interesting in this
respect. The motif is the same as in several of the
pictures already described, but the execution is
somewhat different. As an example of romantic
impressionism, if such a term is permissible, it is
exceedingly interesting. An atmosphere of quiet
repose pervades the scene, giving to it a touch of
melancholy which has a certain charm of its own,
a charm not entirely appreciated until the picture
has been seen two or three times.
Conceived in the spirit of romanticism too is
The Pond (p. 20), a work fine in quality and
admirably composed. Without any suggestion of
mannerism, it is neverthe-
less a typical example
of that phase of Corot’s art
with which the public is
most familiar. A sense of
mystery reigns over these
dark, shadowy depths, while
a certain grandeur of ex-
pression adds to the effect.
The whole scene is bathed
in a vaporous atmosphere
which subdues all local
colour, giving to the canvas
a rich, harmonious quality
altogether agreeable. The
light in the sky penetrating
the thick foliage is just
sufficient to emphasise the
darker portions of the pic-
ture without interfering
with the general scheme. “the chateau de pierrefonds ” by J- b- c- corot
by j. b. c. corot ture ; indeed, it seems as if
the spirit of a bright spring
morning had entered into it.
Among the less important works we noticed
The Watering Place (p. 6), a small sketch, large in
treatment, and chiefly remarkable for the delicate
tints of the light clouds in the sky. Even in these
sketches we cannot fail to notice how Corot, in his
own inimitable manner, introduced his figures into
the composition merely as a subsidiary part of the
whole. Never does he give undue prominence to
them, and yet the picture would seem incomplete
without them. The Landscape Sketch (p. 11) is
well balanced, and was evidently done direct from
nature, and as such it has its interest. It was
probably a note of an effect which the artist made,
intending to carry it out at a later period, but we