View of Genzano

Camille Corot (French, Paris 1796–1875 Paris)
Oil on paper, laid down on canvas
6 1/4 x 11 3/8 in. (15.9 x 28.9 cm)
Credit Line:
Thaw Collection, Jointly Owned by The Metropolitan Museum of Art and The Morgan Library & Museum, Gift of Eugene V. Thaw, 2009
Accession Number:
On view at The Met Fifth Avenue in Gallery 805
Corot painted this sketch at Lake Nemi, southeast of Rome, in June or July 1843. He adapted the view for two paintings, View of Genzano with Rider and Peasant (2009.400.30) and Genzano: Goatherd and Village (Phillips Collection, Washington). Corot is thought to have given both to friends, but he kept this sketch until the end of his life.
Inscription: Stamped (lower right): VENTE / COROT
the artist, Paris (until d. 1875; his estate sale, Hôtel Drouot, Paris, May 26–28, 1875, no. 97, as "Les Collines de Genzano," for Fr 570 to Hurquebie); Monsieur Hurquebie (or Hourquebie, from 1875); Henri Rouart, Paris (by 1905–d. 1912; his estate sale, Hôtel Drouot, Paris, December 9–11, 1912, no. 123, as "Collines de Genzano"); his son, Ernest Rouart, Paris (by 1934–d. 1942); private collection, Paris (by 1960–at least 1975); sale, Christie's, London, December 3, 1991, no. 201, withdrawn; [Galerie Schmit, Paris, in 1994]; Eugene V. Thaw, New York (by 2002–9)
Paris. Musée des Arts Décoratifs, Pavillon de Marsan. "Les Artistes Français en Italie de Poussin à Renoir," May–July 1934, no. 84 (as "Genzano," lent by Ernest Rouart).

Paris. Maurice Gobin. "Exposition de dessins et de quelques peintures par C. Corot, 1796–1875," November 25–December 17, 1938, no. 58 (as "Collines de Genzano," lent by E. Rouart).

Paris. Galerie Charpentier. "Paysages d'Italie," 1947, no. 38 (as "La Colline de Genzano").

Paris. Hector Brame. "C. Corot: Peintures—Dessins," June 14–July 5, 1957, no. 12 (as "Collines de Genzano").

Musée de Dieppe. "Corot, 1796–1875," July–September 1958, no. 16 (as "Collines de Genzano," lent by a private collection).

Kunstmuseum Bern. "Corot," January 23–March 13, 1960, no. 39 (as "Genzano," lent by a private collection, Paris).

Paris. Orangerie des Tuileries. "Hommage à Corot: Peintures et dessins des collections françaises," June 6–September 29, 1975, no. 44 (as "Les Collines de Genzano," lent by a private collection, Paris).

Paris. Galerie Schmit. "Maîtres français, XIXe–XXe siècles," May 4–July 12, 1994, no. 14 (as "Les Collines de Genzano").

New York. Pierpont Morgan Library. "The Thaw Collection: Master Drawings and Oil Sketches, Acquisitions Since 1994," September 27, 2002–January 19, 2003, no. 92 (as "The Hills of Genzano").

Copenhagen. Statens Museum for Kunst. "Turner and Romantic Nature," September 4, 2004–January 9, 2005, no. 51 (as "The Hills of Genzano").

New York. Morgan Library & Museum. "Studying Nature: Oil Sketches from the Thaw Collection," January 23–August 30, 2009, unnum. checklist (as "View of Genzano").

Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 2, pp. 162–63, no. 454, ill., vol. 4, p. 203, calls it "Collines de Genzano" and dates it 1843.

André Jullien and Renée Jullien. "Corot dans les Castelli Romani." Gazette des beaux-arts, 6th ser., 110 (October 1987), pp. 124–25, 130 n. 44, identify the site where this sketch and two drawings now in the Musée du Louvre, Paris (inv. RF 9026 recto [Robaut 1905, no. 2772 recto] and inv. RF 9029 verso [Robaut 1905, no. 2786 recto]) were executed.

Michael Pantazzi in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, p. 196 under no. 82 and p. 199 under no. 84, erroneously states that the sketch is painted on wood and dated June 26, 1843.

Cara Dufour Denison in The Thaw Collection: Master Drawings and Oil Sketches, Acquisitions Since 1994. Exh. cat., Pierpont Morgan Library. New York, 2002, pp. 200–201, no. 92, ill. (color), asserts that this sketch was painted after "View of Genzano with Rider and Peasant" (MMA 2009.400.30).

Kasper Monrad. Turner and Romantic Nature. Exh. cat., Statens Museum for Kunst. Copenhagen, 2004, pp. 91, 95, 244, no. 51, ill. (color), disagrees with Ref. Denison 2002, citing Philip Conisbee's argument that this sketch appears to have been used as a study for MMA 2009.400.30.

Asher E. Miller in "Recent Acquisitions, A Selection: 2008–2010." Metropolitan Museum of Art Bulletin 68 (Fall 2010), pp. 47–49, ill. (color).

John House. "Impressionism and the Open-Air Oil Sketch." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, pp. 91–92, fig. 75B (color), presumes that "this was the étude that served as the starting point" of MMA 2009.400.30, describing the latter as "the more elaborated picture".

Esther Bell. "Catalogue Raisonné of the Thaw Collection." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, p. 111, no. 29, ill. (color), calls it "View of Genzano".