Studio: international art (79.1920)

THE GLEN-COATS COLLECTION

“THE EDGE OF THE WOOD ”
BY J. B. C. COROT

Harbour of Refuge. This version, measuring
2i 2 inches by 35! inches, was, until 1908,
in the collection of Mr. R. E. Tatham.
Amongst the most notable works in the
collection were the two landscapes by
Corot, The Edge of the Wood and The River
Meadows. The former, which is shown on
this page, is a fine example of the most
alluring phase of Corot's art, and illustrates
those qualities which give to his work its
particular charm—poetry, rhythm, tran-
quillity, harmonious colouring, and soft
gradation of tones. The River Meadows
(reproduced in colour in “ The Landscapes
of Corot ”) is more broadly handled and
more characteristic in composition and
general treatment, while its varied and
beautiful tones form a delightful symphony
of colour. There is, too, a freshness and
164

spontaneity about this canvas which will
appeal to those who have a real love of
nature. Somewhat similar in composition
is the small panel by Diaz called The
Fisherman, but it is darker in tone and lacks
the delightful colour harmonies of the two
landscapes by Corot just mentioned. At
the same time it is an attractive canvas,
as will be seen by the reproduction on
page 166. Daubigny was represented by a
rather unusual composition called The
River (p. 163). It is undoubtedly a direct
transcript from nature, and as an example
of the artist’s skill in the rendering of
atmospheric effects it is interesting. In
looking at this work it is easy to understand
the influence of Daubigny on many of the
present-day landscapists, both English
and French. A rocky landscape by