Oil on monogrammed canvas "Paysanne dans un sous-bois de Chenes" by Master Narcissus Diaz de la Pea (1807-1876) monogrammed, bottom left. c. 1870
No stretcher, oil on canvas, under glass frame. Height: 21 cm. Width: 17 cm. Signed on the bottom left.
Certificate issued by Anne Marie Letailleur
This painting by Narcissus Diaz can be easily linked to a collection of works made by the painter in areas around Apremont woods where trees were relatively dense in the 19th century,
Private Collection, France. The painter is internationally known and his works are sold in the biggest auction houses.
Artworks exhibited at the Musée d'Orsay, at the Museum of Fine Arts in Boston, see below.
A testament to Diaz’s brilliance as a colourist and an acute observer of natural light effects. Here, Diaz treats a familiar subject: the edge of a forest at the dormoir, or place where the trees begin. Like many of the artist’s compositions, thick trees open at centre to reveal a patch of sky, and sunlight sparkles on a pond in the foreground. Despite the compositional familiarity, though, the work is exceptional in its shimmering color and light: it is at once full of shadow and of brilliant color. From among dark trees emerge shades of green, red and sienna, perfectly capturing the flickering effect of stirring leaves. The knotted trunk of an old oak in the foreground is bleached white by the sun, and bright moss grows over a worn tree that has fallen to the forest floor. A pond is etched into the foreground with rough strokes of the palette knife capturing an unstable, alternating light, while reflection across the painting's heavily impasted surface adds to the glistening effect of the picture. Although a clear blue sky and sunny clearing form the centre of the composition, it is the colour that emerges from shadow that gives the work a rare and exceptional quality.
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH, 1807 - 1876)
Narcisse Virgile Diaz de la Pena was one of the foremost figures of the first generation of Barbizon artists. He, along with Rousseau, Millet, Daubigny, Corot, Dupré, Jacque and Troyon, established the Barbizon movement that drew hundreds of artists to the forest of Fontainebleau over the course of the nineteenth century. The heart of Barbizon art was direct study from nature, be it landscape or the human figure. Barbizon artists were the first to narrow the gap that had traditionally existed between the direct sketch and the finished studio picture.
Diaz was born to Spanish emigrant parents on August 20, 1807 in Bordeaux. At the young age of seventeen, Diaz went to work for a printer, then for a porcelain manufacturer, where he puts the young Jules Dupré and Nicolas-Louis Cabat, both of whom would also later work at Fontainebleau Forest, as well as the painter Auguste Raffet. Immersed in this group, Diaz honed his skill at the higher arts with a few lessons from François Souchon (1787-1857) and by copying at the Louvre. The works of artists such as Pierre Paul Prud'hon and Correggio inspired him, and, following this vein, his early paintings of the 1830s were romantic visions of nymphs, bathers, or Oriental women in lush, wooded settings. These catered to the popular taste for 18th century style Rococo and resulted in financial success for the young artist.
Though figure painting would always remain important for Diaz, it is his landscapes of the 1850s, 60s, and 70s, particularly those of Fontainebleau Forest, for which the artist is most remembered. Diaz met Theodore Rousseau in 1837 and showed his first Fontainebleau landscape at the Salon of that year. He began to exhibit pure landscapes without figures only after 1848, and the success of these forest interior scenes, including one that won him a first class medal at the Salon of 1848, allowed him to discontinue exhibiting publicly at the Salon after 1859. Recognized as a superb colourist in his own day, his forest interiors are richly painted with warm browns, oranges, golds and silvery tree trunks and branches. Though the artist often applied paint loosely with a broad palette knife, his acute observation of nature and natural effects was nevertheless keen. He was officially decorated even after leaving the official exhibition system when he received the Legion of Honor in 1881. Diaz's financial success enabled him to lend a helping hand to his friends when in need, including Troyon, Rousseau, and Millet.
The artist died at Menton on November 18, 1876. Phillippe Burty, a well-respected critic and supporter of the Barbizon school wrote in his eulogy of the artist,
The Forest of Fontainebleau loses in Diaz an artist who had the truest perception of its peculiar charm. He did not see it in its sombre grandeur; he felt his delight and fascination. No one has so successfully caught the spirit of the pleasure parties that crowd its shady alleys in spring time and summer. No one has rendered with such astonishing effect the bright flashes of slanting sunlight upon the trunks of its beeches and birch trees. No one, again, has translated with such force and brilliancy the velvet surface of its moss-grown rocks or the embrowned gold of its autumn foliage.
Selected Museum Collections from NARCISSE VIRGILE DIAZ DE LA PENA:
Rijksmuseum and Municipal Museum, Amsterdam; Walters Art Museum, Baltimore; Oise County Museum, Beauvais; Museum of Fine Arts in Béziers; Museum of Fine Arts, Boston; Caen Museum of Fine Arts; Fitzwilliam Museum, Cambridge, UK; Condé Museum, Chantilly; Art Institute of Chicago; Museum of Art and History, Cholet; Cleveland Muesum of Art; National Castle Museum, Compiègne; Detroit Intsitute of Arts; Magnin Museum, Dijon; National Gallery of Scotland, Edinburgh; Grenoble Museum; National Gallery of Finland, Helsinki; Mesdag Museum, The Hague; Courtauld Institute of Art, Wallace Collection, Victoria and Albert Collection and National Gallery, London; Los Angeles County Museum of Art; Grobet-Labadié Museum and Museum of Fine Arts, Marseille; National Gallery of Victoria, Melbourne; Minneapolis Institute of Art; Tretiakoff Museum, Moscow; Nantes Museum of Fine Arts; Metropolitan Museum of Art, New York; Petit Palais, Musée d'Orsay and Musée du Louvre, Paris; Norton Simon Museum, Pasadena; Philadelphia Museum of Art; Rouen Museum of Fine Arts; Hermitage Museum, Saint Petersburg; Fine Arts Museums of San Francisco; Augustinian Museum, Toulouse; Troyes Museum of Fine Arts; National Gallery of Art, Washington DC;
- Narcisse Diaz de la Pena (1807-1876)
- Title of artwork
- Paysanne dans un sous-bois de chênes
- c. 1870
- Oil on canvas
- Hand signed
- Overall in good condition
- Sold with frame
- 500 g
- Image size
- 21×17 cm
- Total dimensions
- 23×3×19 cm