70

Narcisse-Virgile Diaz de la Pena
(French, 1807-1876)

"Ramasseuses de Bois: Foret de Fontainebleau, Pres des Hauteurs du Jean de Paris", 1866

oil on canvas
signed and dated lower right.
Framed with brass artist plaque.
19-1/2" x 27-3/4", framed 32-1/2" x 40-1/2"

Provenance: Durand-Ruel, Paris; De Landa Collection Sale, Sotheby's, New York, November 7, 1946, lot 86; Sotheby's, New York, October 31, 2000, lot 16; Private collection, California; Christie's, New York, New York, April 12, 2007, lot 135.

Literature: This work was authenticated by Mrs. Rolande Miquel in 2007 through Christie's, and will be included in the forthcoming Diaz catalogue raisonne.

Notes: The Forest of Fontainebleau, the sacred hunting grounds of French kings since the 13th century, is one of the oldest forests in France and the first nature preserve in history enacted by Napoleon III in 1861. Its austere oaks, pines, limpid pools of water, plateaus and extraordinary rock formations became the wellspring of Barbizon School artists beginning in the 1830s. Young artists seeking a sylvan escape from the bustle of Paris took to plein air painting in the Forest of Fontainebleau and the surrounding fields farmed by the peasantry of the nearby village of Barbizon. Diaz, an extraordinarily talented painter of porcelain and Romantic pastiches and odalisques, was seduced by the lighting the immense oaks commanded in Theodore Rousseau's paintings of the Forest. With his keen eye and aptitude for quick painterly studies, Diaz not only embraced Barbizon School painting, but he also became one of its preeminent proponents. His bravura in capturing diffuse lighting in palettes of gold and sienna that scintillate across the forest floors and tree trunks earned him a first-class medal at the Salon of 1848, and the award of chevalier of the Legion of Honor in 1851. The painting offered here is a fine example of his Barbizon oeuvre. Lit from above in Diaz's characteristic framing technique, he creates an oculus with the tree canopies through which to illuminate the brush and boulders that recall the terrain near the height of Jean du Paris. Similar use of lighting with striking stylistic similarities are also observed in the work of Leon Richet, Diaz's pupil's painting of the Forest of Fontainebleau in lot 67.


  • Condition: **In overall very good professionally restored condition. The painting has been relined and revarnished several times, which makes it difficult for UV light to fully penetrate the surface. Very little inpainting was detected. There are a few conservative small "touch-ups" scattered throughout - the largest being ~2" to the upper left corner. Light craquelure is present throughout.

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