The Forest of Fontainebleau-and, in particular, the small town of Barbizon within it-was a popular destination for artists seeking refuge from urban, industrial life in the mid-nineteenth century. With its forty thousand acres of dense woods intercut with rocky gorges and dotted with ancient oaks, Fontainebleau provided an idyllic natural setting for plein-air painters, such as Corot and Millet, as well as for photographers, including Gustave Le Gray and Eugène Cuvelier. Although the process of making salted paper prints from paper negatives was already somewhat antiquated by the 1860s, Cuvelier chose the technique because of its aesthetic qualities-the soft fibrous effect of the paper negative and the velvety mat surface of the print.
Inscription: Inscribed in negative on print, recto, bottom right: "6"; inscribed in pencil on mount, verso UR: "Eugène Cuvelier 1850's"
The Metropolitan Museum of Art. "Landscapes by French Artists, 1780-1880," November 17, 1987–February 14, 1988.
National Gallery of Art, Washington D.C. "On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography," May 7, 1989–July 30, 1989.
Art Institute of Chicago. "On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography," September 16, 1989–November 26, 1989.
Los Angeles County Museum of Art. "On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography," December 21, 1989–February 25, 1990.
New York. The Metropolitan Museum of Art. "Nineteenth Century European Photographs: Recent Acquisitions," October 2, 1991–December 1, 1991.
The Metropolitan Museum of Art. "Eugène Cuvelier, Photographer in the Circle of Corot," October 8, 1996–January 12, 1997.