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Lot Essay
The Morvan region of France provided Corot with a rich and varied setting for small group of landscapes that he panted in the early 1840s. The charm of this Burgundian terrain with its rolling terrains dotted with Romanesque churches must have appealed to him as he returned there three times between 1840 and 1842, after having first explored the region in the 1830s. So special was this location for Corot that he hung one of his Morvan subjects in the living room of his house at Ville-d’Avray.
The present work is virtually identical in style and subject to Lormes - une chevrière assise au bord d'un torrent sous bois, also painted in the summer of 1842. (fig. 1). Both works show a young girl tending her goats near a rushing brook in a wooden landscape. The two paintings are united by groups of twisted, overlapping trees that appear almost serpentine as they reach to the sky.
Corot created approximately fifteen paintings depicting the Morvan in the 1840s. The qualities of this series of works were commented on in the catalogue to the 1996-97 Corot exhibition: '...the treatment of light, the invariably original compositions - occasionally in unusually wide formats - the inclusion of figures, and the overwhelming sense of a direct perception of nature place them among his most interesting creations.' (Tinterow et al, 1996, p. 191).
A certificate of authenticity, signed by Pierre Dieterle and dated Paris, 26 August 1998, accompanies this painting.
The present work is virtually identical in style and subject to Lormes - une chevrière assise au bord d'un torrent sous bois, also painted in the summer of 1842. (fig. 1). Both works show a young girl tending her goats near a rushing brook in a wooden landscape. The two paintings are united by groups of twisted, overlapping trees that appear almost serpentine as they reach to the sky.
Corot created approximately fifteen paintings depicting the Morvan in the 1840s. The qualities of this series of works were commented on in the catalogue to the 1996-97 Corot exhibition: '...the treatment of light, the invariably original compositions - occasionally in unusually wide formats - the inclusion of figures, and the overwhelming sense of a direct perception of nature place them among his most interesting creations.' (Tinterow et al, 1996, p. 191).
A certificate of authenticity, signed by Pierre Dieterle and dated Paris, 26 August 1998, accompanies this painting.