At the age of twenty-nine, three years after choosing to become a painter, Corot left Paris for his first Italian sojourn (1825–28). In Rome he joined a growing number of artists who formed one of the earliest schools of open-air landscape painting. Corot devoted much of his energy to small views of Rome and studies, like this one, of the surrounding countryside.
Signatures, Inscriptions, and Markings
Inscription: Signed (lower left): COROT.
Dr. Henry Clay Angell, Boston (probably by 1890–d. 1911); his widow, Martha Barlett Angell, Boston (1911–d. 1919); Hon. J. Weston Allen, Newton Highlands, Mass. (by 1922–at least 1934); Georges de Batz, New York; Mr. and Mrs. William B. Jaffe, New York (until 1950)
New York. The Metropolitan Museum of Art. "Landscapes by French Artists, 1780–1880," November 17, 1987–February 14, 1988, no catalogue.
New York. The Metropolitan Museum of Art. "Barbizon: French Landscapes of the Nineteenth Century," February 4–May 10, 1992, no catalogue.
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. 46–47, ill., suggest that, although not mentioned by Robaut, our picture resembles scenes Corot painted in the Roman Campagna in 1825–28 (R101 and R117).
Peter Galassi. Letter to Charles S. Moffett. January 26, 1982, doubts that this picture is by Corot due to its quality, small size, and "sharp, chiselled brushwork"; suggests it is an original work of the early to mid 19th century, to which Corot's signature was added.