DOI issue:
No. 242 (May 1913)
DOI article:The ''John Balli'' collection at the Goupil Gallery
DOI Page / Citation link: https://doi.org/10.11588/diglit.21160#0325
The "John Balli" Collection
picture just mentioned, the Souvenir de Saintry
nevertheless displays many characteristic qualities.
It seems to bring us into intimate relation with the
artist's vision and methods. There is a freshness
and spontaneity about this smaller picture, enhanced
by the poetic charm with which the artist invariably
imbues his subjects, which will appeal strongly to the
lover of nature. The cool greens in the foreground
and the feathery trees form the principal charms of
the Souvenir de la Spezzia (p. 300). Fine in
quality and admirably composed, this delightful
canvas is typical of one of the most fascina-
ting phases of Corot's art. The small red
figure is cleverly introduced without interfering
with the harmony of the delicate colour-
scheme. Jeunes Filles cueillant des Fleurs is
a large upright canvas, darker in tone than the
work just mentioned, and lacking the delightful
colour-harmony which we find so attractive in the
other Corots in the collection. But it is a good
example of romantic landscape painting, the work
of a true poet. Of the two other landscapes by
Corot in the collection, Le Chemm montant, a
Gouvieux is rather uninteresting in composition.
Pleasing in colour, however, and more loosely
painted than usual, it possesses many of the
qualities of the Souvenir de Saintry already
mentioned. The most striking feature in Les
vieux Arbres au bord de I'Etang is the glow in the
sky seen through the trees, a very beautiful effect.
Le Secret de P Amour (below), a large figure
picture, is a good example of a less familiar side of
Corot's art. We do not remember having seen
a finer work of this class by the artist, though
we must admit it is the landscape background
which appeals more than the figures, in spite of the
cleverly painted head of Cupid.
The collection contains two works by Daubigny,
of which we reproduce La Lavandiere au bord
de 1'Oise (p. 305). The beauty of the luminous
sky and the dark rich shadows are characteristic of
the artist's work. In this, as in the other example,
Le Pecheur au bord de F Oise, his simple, unaffected
methods, his fine feeling for tone values, and
his freedom of execution are well displayed. As
a direct interpreter of nature Daubigny has had
considerable influence on present-day landscape
painting; and if in his works we do not find the
romantic element of a Corot, they possess neverthe-
less a poetic beauty of their own which is not less
agreeable because it is devoid of any emotional
appeal.
Theodore Rousseau is represented by a single
canvas, La Mare a I'Entree de la Eoret, executed
with his usual lofty simplicity and directness. The
peculiar light due to the stormy sunset has offered
a splendid opportunity for the display of the artist's
genius in rendering unusual atmospheric effects.
It is an impressive and dignified work. Diaz, the
friend and pupil of Rousseau, is at his best in La
" LE SECRET DE L'AMOUR '
302
BY J. B C. COROT
picture just mentioned, the Souvenir de Saintry
nevertheless displays many characteristic qualities.
It seems to bring us into intimate relation with the
artist's vision and methods. There is a freshness
and spontaneity about this smaller picture, enhanced
by the poetic charm with which the artist invariably
imbues his subjects, which will appeal strongly to the
lover of nature. The cool greens in the foreground
and the feathery trees form the principal charms of
the Souvenir de la Spezzia (p. 300). Fine in
quality and admirably composed, this delightful
canvas is typical of one of the most fascina-
ting phases of Corot's art. The small red
figure is cleverly introduced without interfering
with the harmony of the delicate colour-
scheme. Jeunes Filles cueillant des Fleurs is
a large upright canvas, darker in tone than the
work just mentioned, and lacking the delightful
colour-harmony which we find so attractive in the
other Corots in the collection. But it is a good
example of romantic landscape painting, the work
of a true poet. Of the two other landscapes by
Corot in the collection, Le Chemm montant, a
Gouvieux is rather uninteresting in composition.
Pleasing in colour, however, and more loosely
painted than usual, it possesses many of the
qualities of the Souvenir de Saintry already
mentioned. The most striking feature in Les
vieux Arbres au bord de I'Etang is the glow in the
sky seen through the trees, a very beautiful effect.
Le Secret de P Amour (below), a large figure
picture, is a good example of a less familiar side of
Corot's art. We do not remember having seen
a finer work of this class by the artist, though
we must admit it is the landscape background
which appeals more than the figures, in spite of the
cleverly painted head of Cupid.
The collection contains two works by Daubigny,
of which we reproduce La Lavandiere au bord
de 1'Oise (p. 305). The beauty of the luminous
sky and the dark rich shadows are characteristic of
the artist's work. In this, as in the other example,
Le Pecheur au bord de F Oise, his simple, unaffected
methods, his fine feeling for tone values, and
his freedom of execution are well displayed. As
a direct interpreter of nature Daubigny has had
considerable influence on present-day landscape
painting; and if in his works we do not find the
romantic element of a Corot, they possess neverthe-
less a poetic beauty of their own which is not less
agreeable because it is devoid of any emotional
appeal.
Theodore Rousseau is represented by a single
canvas, La Mare a I'Entree de la Eoret, executed
with his usual lofty simplicity and directness. The
peculiar light due to the stormy sunset has offered
a splendid opportunity for the display of the artist's
genius in rendering unusual atmospheric effects.
It is an impressive and dignified work. Diaz, the
friend and pupil of Rousseau, is at his best in La
" LE SECRET DE L'AMOUR '
302
BY J. B C. COROT