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A Village Street- Dardagny 1852, 1857, or 1863 Camille Corot French. Historical artwork in public domain. Paintings by masters from the golden age of classical art. Corot was a tireless traveler, and the extension of the network of French railroads in the 1850s widened the range of his summer journeys. In 1852, 1857, and 1863, he visited Dardagny, a small village near Geneva. This view, essentially unchanged today, was probably painted on Corot’s first visit. It is an excellent example of his remarkable ability to derive a poetic scene from a prosaic site. Title: A Village Street: Dardagny Artist: Camille Corot (French, Paris 1796–1875 Paris) Date: 1852, 1857, or 1863 Medium: Oil on canvas Signatures, Inscriptions, and Markings: Inscription: Signed and inscribed: (lower left) COROT; (center right, on wall) 48 Corot painted this study in Dardagny, a tiny village near Geneva that he visited in 1852, 1857, and 1863. A related composition, probably painted at the same time, is in a private collection (Robaut 1905, no. 719; see Pantazzi 1996). References on the original Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 2, pp. 242–43, no. 718, ill.; vol. 4, p. 269, calls it "Dardagny (près Genève)—Une rue du village" and dates it 1850–60. Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 20. Robert L. Herbert. Barbizon Revisited. Exh. cat., California Palace of the Legion of Honor, San Francisco. Boston, 1962, p. 88, no. 11, ill. p. 95, dates it probably 1853, stating that it was during Corot's second visit to Dardagny following his first trip the previous year. Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 51–52, ill., call it "A Village Street—Dardagny"; suggest that Corot painted it in either 1852 or 1853 when he visited with Daubigny, adding that his third visit occured in 1863. Germain Bazin. Corot. 3rd rev. ed. [1st ed., 1942; 2nd ed., 1951]. Paris, 1973, p. 267, erroneously states that it was in the Salon of 1852. Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 28–29, no. 9, ill. (color). Josine M. Eikelenboom Smits. "The Architectural Landscapes of Jean-Baptiste-Camille Corot." PhD diss., Stanford University, 1991, vol. 1, pp. 347–48; vol. 2, fig. 332, remarks that the wooden balcony attached to a stone house is a characteristic feature of Dardagny and is also depicted in another oil sketch, "Dardagny—The Chalet of the Old Farmers" (R719; private collection); mentions two pencil drawings depicting balconies related to our painting (R8931 and R8932, Musée du Louvre, Paris). Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 405, ill. Michael Pantazzi in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 248–49, no. 111, ill. (color) [French ed., "Corot 1796–1875," Paris, pp. 310–11, no. 111, ill. (color)], dates it about 1853, stating that this was the first year Corot visited Dardagny; comments that although the Dardagny works are difficult to date with precision, the strong light, clearly defined architecture, and lucid conception of this work suggest a date in the earlier 1850s; mentions a related composition probably painted on the same occasion (R 719; private collection). Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 27, 195, no. 8, ill. (color and black and white), states that Corot traveled to Dardagny in 1852, 1857 and 1863 and that this picture was probably painted during his first trip. Vincent Pomarède in Corot en Suisse. Ed. Paul Lang. Exh. cat., Musée Rath, Geneva. [Paris], 2010, p. 35. Paul Lang in Corot en Suisse. Ed. Paul Lang. Exh. cat., Musée Rath, Geneva. [Paris], 2010, p. 96, no. 24, ill. (color), dates it about 1853. Designed for indoor use, custom stretched canvas prints are made from treated cotton - providing the smoothest of matte surfaces for exceptional design vividity. A combination of quality and durability, these hangings come with a lifelong color guarantee; there's significant confidence in their withstanding the test of time. On the backside, pre-installed hanging hardware ensures proper locking to walls. .: 100% cotton fabric .: Wooden frame .: High image quality and detail .: For indoor use #styleathome #homedecor #paintingsforhome #classicalart
