Jean-Baptiste-Camille Corot

(1796- 1875)
Versant rocheux, 1827
Versant rocheux, 1827
Stamped with the VENTE stamp (lower left); with the VENTE wax seal on the stretcher
Oil on paper laid on canvas
28.4 x 40.1 cm


The artist’s studio; sale: Hôtel Drouot, Paris, May 31-June 2, 1875, lot 302 (as Au lac d’Albano, roches verdoyants)
M. Martin (acquired at the above sale)
Georges Bernheim, Paris (in 1881)
Georges Petit, Paris (in 1882) Comte Doria, Paris (in 1882) Sale: Doria, Paris, lot 114 Moderne Galerie, Munich Sotheby’s New York, 2010 Private Collection, Switzerland


Alfred Robaut, L’oeuvre de Corot, catalogue raisonné et illustré, Paris, 1965, vol. 2, p. 58, no. 161, illustrated p. 59 (as Albano, Versant Rocheux); vol 4, p. 229, no. 302, illustrated

Dokumente / Zertifikat:

Corot was in Rome for the first four months of 1827. In April, he travelled south of the city to paint in the countryside around Olevano, Mariano, Albano and Civitella. While Alfred Robaut identifies the setting of our painting as Albano, it is much closer to La Serpentara near Olevano; a region outside of Rome famous for its oak forest. This rocky terrain was surrounded by a massive cluster of oak trees, and the juxtaposition of the two opposing landscapes must have appealed to Corot. Painted on the spot, the summer sun warms the surface of the hard rock, which Corot has painted in a combination of pinks, mauves and beige. He offsets this warm palette with gradations of greens for the leaves on the trees and the foreground foliage, which miraculously grows in the arid ground. The only other colors he uses are the pale blue for the sky and tiny specks of yellow paint for the wildflowers that sprout up in between the rocks.
This beautifully preserved painting reveals areas of thick impasto, most notably in the trees, as well as Corot’s trademark technique of scraping away the paint to reveal a thin, brushy ground. As were most of Corot’s plein-air paintings from his early Italian trips, this work was painted on paper. According to Martin Dieterle,
the art dealer Détrimont was responsible for eventually transferring the paper to canvas, most likely in the 1870s. In fact, Détrimont’s stamp is still visible on the reverse.
Inv 1264


Etude d'arbre près d'un torrent en Italie
Etude d’arbre près d’un torrent en Italie
Huile sur papier, marouflé sur toile et monté sur chassis
28.3 x 20.1 cm

Cette huile sur papier, datable vers 1826-1827, sera incluse dans le supplément de L’oeuvre de Corot d’Alfred Robaut actuellement en préparation par Martin Dieterle et Claire Lebeau.

Inv.Nr. 1298


Le repos du berger
Le repos du berger
Signed ‘C.Corot.’ (lower left)
Oil on canvas
26.7 x 35.3 cm



Anonymous sale; Ader-Tajan, Paris, 8 April 1994, lot 5. Private German Collector
Colléction privée, Suisse


P. Dieterle, M. Dieterle, and C. Lebeau, Corot: cinquième supplément à L’oeuvre de Corot par A. Robaut et Moreau-Nélaton, Paris, 2002, pp. 20-21, no. 17 (illustrated).

Inv.Nr. 1304