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The Ferryman

Camille Corot (French, Paris 1796–1875 Paris )

Date:
ca. 1865
Medium:
Oil on canvas
Dimensions:
26 1/8 x 19 3/8 in. (66.4 x 49.2 cm)
Classification:
Paintings
Credit Line:
Bequest of Benjamin Altman, 1913
Accession Number:
14.40.811
  • Gallery Label

    Like many of the landscapes Corot painted at the end of his career, The Ferryman exemplifies the timeless, idyllic quality that contemporary critics appreciated in his work.

  • Signatures, Inscriptions, and Markings

    Inscription: Signed (lower right): COROT

  • Provenance

    Bertin, Paris (until 1892; ?his sale, M. X. et Mme F., Hôtel Drouot, Paris, May 11, 1892, no. 6, as "Le Passeur," for Fr 4,900 to Arnold and Tripp); [Arnold and Tripp, Paris, from 1892]; Benjamin Altman, New York (until d. 1913)

  • Exhibition History

    New York. The Metropolitan Museum of Art. "Landscape Paintings," May 14–September 30, 1934, no. 36.

    New York. The Metropolitan Museum of Art. "The Taste of the Seventies," April 2–September 10, 1946, no. 78.

    New York. The Metropolitan Museum of Art. "Barbizon: French Landscapes of the Nineteenth Century," February 4–May 10, 1992, no catalogue.

  • References

    Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 3, pp. 180–81, no. 1728, ill., calls it "Passeur atterrissant avec deux paysannes dans sa barque" and dates it about 1865; states that it sold in 1892 for Fr 49,000 [sic].

    B[ryson]. B[urroughs]. "Modern Paintings in the Altman Bequest." Metropolitan Museum of Art Bulletin 9 (December 1914), p. 252, ill., notes its similarity to Corot's "River with a Distant Tower" (MMA 11.45.4).

    François Monod. "La Galerie Altman au Metropolitan Museum de New-York (2e article)." Gazette des beaux-arts, 5th ser., 8 (November 1923), p. 312 n. 1, places it in Corot's last period.

    Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 58, ill., note that "Corot seems to have borrowed from Bonington the practice of animating a landscape with a note of brilliant color".



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    In the Museum
    Heilbrunn Timeline of Art History
    MetPublications
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