Claude Felix Thodore Caruelle

Claude-Félix-Théodore Caruelle d'Aligny (1798-1871) Un paysage rocheux avec une rivière, des bergers et leur troupeau vers la gauche plume et encre noire, lavis gris sur toile préparée beige 505 x 652 mm. No VAT will be charged on the hammer price, but VAT payable at 19.6% (5.5% for books) will be added to the buyer’’’’s premium which is invoiced on a VAT inclusive basis

Claude Félix Théodore Caruelle d'Aligny (French,1798-1871) Les Muses signed with monogram (lower right) oil on paper laid down on canvas 12¼ x 9 in. (31.5 x 23 cm.) J.L. Vaudoyer, Paris Mr Dumont, Paris Exhibited Paris, Galerie René Drouin, Maitres et petits Maitres du XIXSiècle, Oct 1942, no.1 Galerie Lefranc & Engrand, Le Paysage Français, SesPrécurseurs, Jan 1944, no.4 Galerie Charpentier, Paysages d'Italie, 1947

Theodore Caruelle d'Aligny French, 1798-1871 homere et les bergers signed with monogram l.l. oil on canvas 78 by 68.5 cm., 30 3/4 by 27 in. Painted circa 1840. Provenance: Sale: Paris, Hotel Drouot, Vente Caruelle d'Aligny, 4 May 1874, lot 9 Etex collection Sale: London, Christie's, 30 June 1978, lot 303, illustrated Sale: London, Sotheby's, 26 November 1980, lot 23, illustrated Exhibited: Cleveland, Museum of Art, on loan Literature: Marie-Madeleine Aubrun, Theodore Caruelle d'Aligny, Paris 1988, no.88, p.108, illustrated (as location unknown) Fronia E. Wissman, Corot's Salon Paintings: Sources from French Classicism to Contemporary Theater Design, Ph.D. thesis, Newhaven 1989, vol.I, pp.103 & 104 Paris, Grand Palais; Ottawa, Musee des Beaux-Arts & New York, Metropolitan Museum of Art, Corot, exh. cat., Paris 1996, p.266 During his stay in Rome from 1822 to 1827 d'Aligny worked closely with Corot, his naturalistic studies of the campagna exerting an important influence on the older artist. D'Aligny's pioneering conception of landscape as an organisation of forms and mass underpinned much of the genre's subsequent development up to, and including, the work of Cezanne. In 1828, he became one of the first landscapists to frequent the Forest of Fontainebleau. Fronia Wissman dates Homere et les bergeres to around 1840, which would make it a key source for Corot's 1845 treatment of the theme, particularly in its figural grouping (Saint-Lo, Musee des Beaux-Arts). As Michael Pantazzi has noted, this seems to be the only deliberate imitation of a contemporary in Corot's oeuvre, and signals the regard in which he held d'Aligny (see Paris; Ottawa & New York 1996, p. 266).