GENERAL DESCRIPTION
In this enigmatic scene, Jean-Baptiste-Camille Corot uses energetic lines to describe a variety of forms and textures, particularly in the two trees in the foreground. Yet the surface of the print itself has the smoothness of a photograph, a hallmark of cliché-verre printmaking, which uses photographic technology to create etching–like images. Invented in the 19th century, cliché-verre was popular among Barbizon artists such as Corot, since its ease and convenience made it an ideal medium for working outdoors.
Corot, who worked alongside early landscape photographers, was persuaded to apply recently discovered photographic techniques to printmaking. He made sixty-six cliché-verres or "glass plates." These works are relatively rare since only a few prints could be made from each plate.
Adapted from
- Sara Woodbury, DMA Exhibition label copy, Cross-Cultural Dialogues in European and American Landscapes, April 2011.
- DMA Label copy.
NOTES
Reviewed TMS object record
Reviewed Education file for Corot
Reviewed the object file.
Searched Piction for Corot.
Cat rais added to Bibliographic text field in TMS- Delteil, Loys, Le Peintre-graveur illustré (XIXe et XXe siècles): Corot (Paris: 1910), 43.
Additional bibliographic or published references sources indicated in the object file but not shown in the TMS record.
Added former title- in the research documentation in the object file- Le Songeur (The Thinker)
Archived current label as a text entry.
Collection Standards questions:
Title in TMS- The Dreamer (Le Songeur)- same issue as 1958.59- Should foreign language titles be placed as separate title entries?
clichés-verre (photographic prints)- currently this is classified as a "work on paper- print" with the object name as "print." I added the sub-classification, "works on paper- photographs" as a way to acknowledge that this technique was based on the same principles as early photography and that this difference may impact conservation/storage searches in TMS. This also aligns with the AAT classification of the term as a photographic process resulting in photographic prints.
For other prints, the method of entering medium is to specify "ink on paper; etching" but this object is not ink on paper. Should the medium be "photosensitive paper; cliché-verre"?
Provenance (not public)
Until 1963: Mr. and Mrs. Alfred L. Bromberg, Dallas, Texas
From 1963: Dallas Museum of Fine Arts, Foundation for the Arts Collection, gift from the above [1], [2]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
Catalogue essays
Foundation for the Arts
Artist/designers
Cultures
Geography
Depicted location: France (nation): TGN: 1000070
Place of origin: Paris (France): TGN: 7008038 based on the artist's primary residence at this time.
Process/materials
Historical periods
Individuals
Subject terms
brown
trees
leaves
figures
foreground
landscape
shading
lines
grass
pastoral
dreams
rural areas
hills
mental activities
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1963.160.FA
Category
rules_operator
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General Description
In this enigmatic scene, Jean-Baptiste-Camille Corot uses energetic lines to describe a variety of forms and textures, particularly in the two trees in the foreground. Yet the surface of the print itself has the smoothness of a photograph, a hallmark of cliché-verre printmaking, which uses photographic technology to create etching–like images. Invented in the 19th century, cliché-verre was popular among Barbizon artists such as Corot, since its ease and convenience made it an ideal medium for working outdoors.
Corot, who worked alongside early landscape photographers, was persuaded to apply recently discovered photographic techniques to printmaking. He made sixty-six cliché-verres or "glass plates." These works are relatively rare since only a few prints could be made from each plate.
Adapted from
- Sara Woodbury, DMA Exhibition label copy, Cross-Cultural Dialogues in European and American Landscapes, April 2011.
- DMA Label copy.
Fun Facts
Archival Resources
Web Resources
Notes
Reviewed TMS object record
Reviewed Education file for Corot
Reviewed the object file.
Searched Piction for Corot.
Cat rais added to Bibliographic text field in TMS- Delteil, Loys, Le Peintre-graveur illustré (XIXe et XXe siècles): Corot (Paris: 1910), 43.
Additional bibliographic or published references sources indicated in the object file but not shown in the TMS record.
Added former title- in the research documentation in the object file- Le Songeur (The Thinker)
Archived current label as a text entry.
Collection Standards questions:
Title in TMS- The Dreamer (Le Songeur)- same issue as 1958.59- Should foreign language titles be placed as separate title entries?
clichés-verre (photographic prints)- currently this is classified as a "work on paper- print" with the object name as "print." I added the sub-classification, "works on paper- photographs" as a way to acknowledge that this technique was based on the same principles as early photography and that this difference may impact conservation/storage searches in TMS. This also aligns with the AAT classification of the term as a photographic process resulting in photographic prints.
For other prints, the method of entering medium is to specify "ink on paper; etching" but this object is not ink on paper. Should the medium be "photosensitive paper; cliché-verre"?
Provenance (not public)
Until 1963: Mr. and Mrs. Alfred L. Bromberg, Dallas, Texas
From 1963: Dallas Museum of Fine Arts, Foundation for the Arts Collection, gift from the above [1], [2]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
Catalogue essays
Foundation for the Arts
Artist/designers
Cultures
Geography
Depicted location: France (nation): TGN: 1000070
Place of origin: Paris (France): TGN: 7008038 based on the artist's primary residence at this time.
Process/materials
Historical periods
Individuals
Subject terms
brown
trees
leaves
figures
foreground
landscape
shading
lines
grass
pastoral
dreams
rural areas
hills
mental activities
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1963.160.FA
source file
object_notes_2_b-0280.xml.nores