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Lot Essay
THE DEVICE OF A PATH OR TRACK LEADING UPWARD AND BACKWARD INTO THE COMPOSITION, OFTEN WITH A GENTLE TURN TO PUNCTUATE THE RECESSION, WAS A RECURRING MOTIF IN COROT'S OEUVRE. IT WAS ALSO A DEVICE ADOPTED BY CAMILLE PISSARRO WHO WAS A FREQUENT VISITOR TO COROT'S STUDIO IN THE EARLY 1860S. IN THE SALON OF 1864, PISSARRO WENT SO FAR AS TO REGISTER HIMSELF AS THE PUPIL OF COROT.
ACCORDING TO ROBAUT (OP. CIT., P. 58), COROT PAINTED THIS PICTURE AS AN AFFECTIONATE SOUVENIR OF A ROMANTIC AREA SURROUNDING A STRETCH OF THE RIVER OISE THAT PARTICULARLY APPEALED TO HIM. HE CHRISTENED THE WORK VALLON DES NYMPHES. THE ORIGINAL OWNER OF THE PICTURE WAS EMILE DE NEVERS, A CLOSE FRIEND OF COROT AND THE PROPRIETOR OF A SMALL MILL SITUATED ON THE RIVER.
ACCORDING TO ROBAUT (OP. CIT., P. 58), COROT PAINTED THIS PICTURE AS AN AFFECTIONATE SOUVENIR OF A ROMANTIC AREA SURROUNDING A STRETCH OF THE RIVER OISE THAT PARTICULARLY APPEALED TO HIM. HE CHRISTENED THE WORK VALLON DES NYMPHES. THE ORIGINAL OWNER OF THE PICTURE WAS EMILE DE NEVERS, A CLOSE FRIEND OF COROT AND THE PROPRIETOR OF A SMALL MILL SITUATED ON THE RIVER.