Corot, Jean-Baptiste-Camille. (1796 - 1875). "Le Concert" - Annotated Trial Proof. Original etching engraved by Henri Guerard, with autograph edits for the publication of the print in brown ink by Corot, including the addition of his name "C. Corot " with a cancelation mark, and title beneath the image "Le Concert / appartient à M. Jules Dupré", and approved by him upper right corner "Bon à tirer " with his autograph paraph. 28 x 20 cm.
Le Concert Champêtre, on which this engraving is based, was painted by Corot in 1857 and is currently housed in the Musée Condé of Chantilly, France. A reworking of a composition exhibited by Corot in the Salon of 1844, the painting was shown in the Salon of 1857 and depicts three women, one with a cello, in the foreground of a forest landscape. The work "is interesting for the new directions it signals in Corot's work. The subject, neither mythic nor biblical, is essentially an eighteenth-century motif reinterpreted by a modern sensibility. The painting brought to life a serene Arcadia with no specific historical or literary referent, removed equally for antiquity and from the nineteenth century." (Gary Tinterow, "Corot: Exhibition Metropolitan Museuem of Art, NY 1996," p. 147)
Le Concert Champêtre, on which this engraving is based, was painted by Corot in 1857 and is currently housed in the Musée Condé of Chantilly, France. A reworking of a composition exhibited by Corot in the Salon of 1844, the painting was shown in the Salon of 1857 and depicts three women, one with a cello, in the foreground of a forest landscape. The work "is interesting for the new directions it signals in Corot's work. The subject, neither mythic nor biblical, is essentially an eighteenth-century motif reinterpreted by a modern sensibility. The painting brought to life a serene Arcadia with no specific historical or literary referent, removed equally for antiquity and from the nineteenth century." (Gary Tinterow, "Corot: Exhibition Metropolitan Museuem of Art, NY 1996," p. 147)
Corot, Jean-Baptiste-Camille. (1796 - 1875). "Le Concert" - Annotated Trial Proof. Original etching engraved by Henri Guerard, with autograph edits for the publication of the print in brown ink by Corot, including the addition of his name "C. Corot " with a cancelation mark, and title beneath the image "Le Concert / appartient à M. Jules Dupré", and approved by him upper right corner "Bon à tirer " with his autograph paraph. 28 x 20 cm.
Le Concert Champêtre, on which this engraving is based, was painted by Corot in 1857 and is currently housed in the Musée Condé of Chantilly, France. A reworking of a composition exhibited by Corot in the Salon of 1844, the painting was shown in the Salon of 1857 and depicts three women, one with a cello, in the foreground of a forest landscape. The work "is interesting for the new directions it signals in Corot's work. The subject, neither mythic nor biblical, is essentially an eighteenth-century motif reinterpreted by a modern sensibility. The painting brought to life a serene Arcadia with no specific historical or literary referent, removed equally for antiquity and from the nineteenth century." (Gary Tinterow, "Corot: Exhibition Metropolitan Museuem of Art, NY 1996," p. 147)
Le Concert Champêtre, on which this engraving is based, was painted by Corot in 1857 and is currently housed in the Musée Condé of Chantilly, France. A reworking of a composition exhibited by Corot in the Salon of 1844, the painting was shown in the Salon of 1857 and depicts three women, one with a cello, in the foreground of a forest landscape. The work "is interesting for the new directions it signals in Corot's work. The subject, neither mythic nor biblical, is essentially an eighteenth-century motif reinterpreted by a modern sensibility. The painting brought to life a serene Arcadia with no specific historical or literary referent, removed equally for antiquity and from the nineteenth century." (Gary Tinterow, "Corot: Exhibition Metropolitan Museuem of Art, NY 1996," p. 147)