{
"data": {
"id": 95275,
"accession_number": "1916.1047",
"share_license_status": "CC0",
"tombstone": "Willows and Farmhouse at Sainte-Catherine-l\u00e8s-Arras, 1871. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; framed: 59.4 x 72.1 x 9 cm (23 3/8 x 28 3/8 x 3 9/16 in.); unframed: 36.3 x 44.4 cm (14 5/16 x 17 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1047",
"current_location": null,
"title": "Willows and Farmhouse at Sainte-Catherine-l\u00e8s-Arras",
"creation_date": "1871",
"creation_date_earliest": 1871,
"creation_date_latest": 1871,
"artists_tags": [
"male"
],
"culture": [
"France, 19th century"
],
"technique": "oil on fabric",
"support_materials": [],
"department": "Modern European Painting and Sculpture",
"collection": "Mod Euro - Painting 1800-1960",
"type": "Painting",
"measurements": "Framed: 59.4 x 72.1 x 9 cm (23 3/8 x 28 3/8 x 3 9/16 in.); Unframed: 36.3 x 44.4 cm (14 5/16 x 17 1/2 in.)",
"dimensions": {
"framed": {
"height": 0.594,
"height_inch": 23,
"height_inch_fraction": 0.375,
"width": 0.721,
"width_inch": 28,
"width_inch_fraction": 0.375,
"depth": 0.09,
"depth_inch": 3,
"depth_inch_fraction": 0.5625
},
"unframed": {
"height": 0.363,
"height_inch": 14,
"height_inch_fraction": 0.3125,
"width": 0.444,
"width_inch": 17,
"width_inch_fraction": 0.5
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower left: corot\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
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"current": [
{
"id": 312517,
"title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition",
"description": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).",
"opening_date": "1936-06-26T04:00:00"
},
{
"id": 312341,
"title": "The Silver Jubilee Exhibition",
"description": "The Silver Jubilee Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).",
"opening_date": "1941-06-23T04:00:00"
},
{
"id": 312333,
"title": "French Drawings and Watercolors from French Public and Private Collections",
"description": "French Drawings and Watercolors from French Public and Private Collections. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).",
"opening_date": "1942-01-06T05:00:00"
},
{
"id": 312176,
"title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans",
"description": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).",
"opening_date": "1943-06-22T04:00:00"
},
{
"id": 311898,
"title": "35th Anniversary Exhibition",
"description": "35th Anniversary Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).",
"opening_date": "1951-06-20T04:00:00"
},
{
"id": 300853,
"title": "Baron Gros, Painter of Battles: The First Romantic Painter",
"description": "Baron Gros, Painter of Battles: The First Romantic Painter. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).",
"opening_date": "1956-03-08T05:00:00"
},
{
"id": 518443,
"title": "Work of Camille Corot",
"description": "Work of Camille Corot. The Art Institute of Chicago, Chicago, IL (organizer) (October 5-November 13, 1960).",
"opening_date": "1960-10-05T04:00:00"
},
{
"id": 518777,
"title": "Impressionists and their Forebears from Barbizon",
"description": "Impressionists and their Forebears from Barbizon. Dallas Museum for Contemporary Arts, Dallas, TX (organizer) (March 8-April 2, 1961).",
"opening_date": "1961-03-08T05:00:00"
},
{
"id": 304646,
"title": "Barbizon School",
"description": "Barbizon School. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-March 3, 1963).",
"opening_date": "1963-01-24T05:00:00"
},
{
"id": 380187,
"title": "Jean-Baptiste Camille Corot",
"description": "Jean-Baptiste Camille Corot. R\u00e9union des mus\u00e9es nationaux - Grand Palais (organizer) (February 27-May 27, 1996); National Gallery of Canada (June 20-September 22, 1996); The Metropolitan Museum of Art (October 21, 1996-January 19, 1997).",
"opening_date": "1996-02-27T05:00:00"
},
{
"id": 383281,
"title": "Stories from Storage",
"description": "Stories from Storage. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).",
"opening_date": "2021-02-06T05:00:00"
}
],
"legacy": []
},
"provenance": [
{
"description": "(Probably Goupil Gallery, New York, NY) ca. 1871-72, sold to Bernhard Stern)",
"citations": [],
"footnotes": [],
"date": "?1871-1872",
"sortorder": 1
},
{
"description": "Bernhard Stern, New York, NY",
"citations": [],
"footnotes": [],
"date": "by 1872-1890",
"sortorder": 2
},
{
"description": "(American Art Galleries, New York, NY, Stern and Evans collections, March 6. 1890, lot 125, sold to Knoedler & Co.)",
"citations": [],
"footnotes": [],
"date": "1890",
"sortorder": 3
},
{
"description": "(Knoedler & Co., New York, NY, April 12, 1890, sold to Jeptha Homer Wade Jr.)",
"citations": [],
"footnotes": [],
"date": "1890",
"sortorder": 4
},
{
"description": "Mr. J.H. Wade, Jr. [1957-1926] and Mrs. J. H.Wade, Jr. [1859-1917], Cleveland, OH, by gift to the Cleveland Museum of Art",
"citations": [],
"footnotes": [],
"date": "1890-1916",
"sortorder": 5
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": null,
"date": "1916-",
"sortorder": 6
}
],
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"did_you_know": "Corot began his career as a draper and his exposure to the colors and textures of fabrics helped him develop an astute aesthetic sense.",
"early_education_description": null,
"artlens_description": null,
"description": "With its quiet water and sky, fluffy trees, and other foliage flecked with light, this picture exemplifies the style that won Corot success with a wide public. It was painted during the artist's stay at Arras (about 100 miles north of Paris) in 1871.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q41516307"
],
"internet_archive": [
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"citations": [
{
"citation": "Robaut, Alfred, Jean-Baptiste-Camille Corot, and Etienne Moreau-Ne\u0301laton. L'\u0152uvre de Corot. Paris, France: H. Floury, 1905.",
"page_number": "Reproduced: no. 2013, vol. 3",
"url": null
},
{
"citation": "Warner, Langdon. \"The Wade Collection.\" The Bulletin of The Cleveland Museum of Art IV, no. 1 (January, 1917):3-8.",
"page_number": "Mentioned: p. 3",
"url": null
},
{
"citation": "Milliken, William. \"The 20th Anniversary Exhibition of the Cleveland Museum of Art.\" ARTnews 34 (June 13, 1936): 7-14.",
"page_number": "Mentioned: P. 13",
"url": null
},
{
"citation": "Coe, Nancy. The History of the Collecting of European Paintings and Drawings in the City of Cleveland. 1955.",
"page_number": "Reproduced: p. 248, vol. 2",
"url": null
},
{
"citation": "Morse, John D. Old Master Paintings in North America. New York, NY: Rand McNally, 1955.",
"page_number": "Reproduced: p. 40",
"url": null
},
{
"citation": "Morse, John D. Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists. New York, NY: Abbeville Press, 1979.",
"page_number": "Reproduced: p. 66",
"url": null
},
{
"citation": "Chong, Alan. European & American Painting in the Cleveland Museum of Art: A Summary Catalogue. Cleveland, Ohio: Cleveland Museum of Art, 1993.",
"page_number": "Reproduced: P. 44",
"url": null
},
{
"citation": "D'Argencourt, Louise and Roger Diederen. The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. Cleveland, OH: The Cleveland Museum of Art, 1999.",
"page_number": "Reproduced: p. 58",
"url": null
},
{
"citation": "Horbez, Dominique. Corot et les peintres de l'e\u0301cole d'Arras. Tournai, Belgium: La Renaissance du Livre, 2004.",
"page_number": "Reproduced: p. 115",
"url": null
},
{
"citation": "Corot: natura, emozione, ricordo : Madrid, Museo Thyssen-Bornemisza, 7 giugno-11 settembre 2005, Ferrara, Palazzo dei Diamanti, 9 ottobre 2005-8 gennaio 2006. Ferrara, Spain: Ferrara arte, 2005.",
"page_number": "Reproduced: p. 153, fig. 67",
"url": null
}
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"creditline": "Gift of Mr. and Mrs. J. H. Wade",
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"id": 1588,
"description": "Jean Baptiste Camille Corot (French, 1796\u20131875)",
"extent": null,
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"role": "artist",
"biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.",
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"birth_year": "1796",
"death_year": "1875",
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"accession_date": "1916-10-02T00:00:00",
"sortable_date": 1871,
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"date_text": "1871",
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"updated_at": "2026-05-29 05:06:19.716000"
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}