Provenance

Gustave Tempelaere

Tempelaere, Galerie

French, est. 1867

Explore selected works

Moss-green land rising to a tree-topped bluff follows the curve of a sandy beach surrounding a pale blue cove in this horizontal landscape painting. The hill and olive-green trees take up most of the height of the left side of the composition. The beach curves from the lower right corner back and to our left, and curves around the cliff face of the bluff. Closest to us, the land is flecked with saffron gold, and two dark brown patches smear the sand. The beach or a sandbar creates a strip of pale brown across the horizon, which comes halfway up the canvas. Distant hills to our left are suggested by a battleship-gray slope. The slate-blue sky above is layered with swirls and bands of oyster-white and pewter-gray clouds. The artist signed the lower left, “COROT.”
Jean-Baptiste-Camille Corot, Beach near Etretat, c. 1872, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.117

Beach near Etretat

Jean-Baptiste-Camille Corot · c. 1872 · oil on canvas ·  Accession ID  1970.17.117

The image shows a still life of round fruits, such as grapes and peaches, placed on a white plate. The color scheme consists of warm browns, muted greens, and deep reds. The fruits have a natural sheen. Positioned on the left center, the plate is filled with grapes spilling over its edge, with peaches of different shades scattered around. The background and support surface are dark brown, contrasting with the colorful fruit.
Henri Fantin-Latour, Still Life with Peaches and Grapes, 1896, oil on canvas, Gift of Miriam and Eliezer Benbassat, 2025.11.6

Still Life with Peaches and Grapes

Henri Fantin-Latour · 1896 · oil on canvas ·  Accession ID  2025.11.6

Shown from the chest up, a young, pale-skinned woman faces and looks out at us with a slight smile on her lips in this vertical portrait painting. The woman has a square face with round, dark, close-set eyes, thin lips, flushed cheeks, and a pointed chin. Her dark brown hair is parted down the middle and pulled loosely back, and ringlets fall to her shoulders. She wears a rose-pink ribbon as a choker with a gold, oval locket. The straight neckline of her off-the-shoulder dress is edged with frothy lace around narrow black trim. Pink, puffy sleeves have a sheen, suggesting silk or satin. Light falls across the woman’s face from our left, and the background is dark brown. The artist signed and dated the painting in the upper left corner, “Fantin. 67.”
Henri Fantin-Latour, Mademoiselle de Fitz-James, 1867, oil on canvas, Chester Dale Collection, 1963.10.24

Mademoiselle de Fitz-James

Henri Fantin-Latour · 1867 · oil on canvas ·  Accession ID  1963.10.24

This painting is a close-up portrait of a man's head and shoulders. He has pale skin and light, slightly disheveled brown hair with a strong widow's peak, and a short brown beard. His head is tilted downward, and he looks out at us from deep-set eyes under a furrowed brow. His mouth appears slightly open. He is wearing a dark suit with a high-collared white shirt visible at the neck. The background is a muted light gray color painted with visible, thick brushstrokes.
Henri Fantin-Latour, Self-Portrait, 1861, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1995.47.9

Self-Portrait

Henri Fantin-Latour · 1861 · oil on canvas ·  Accession ID  1995.47.9

Bibliography

1998

  • Yeide, Nancy. "Hector Brame: An art dealer in nineteenth-century Paris." Apollo (March 1998):40-47