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Source Description

"Edge of the Forest" represents a group of overarching trees in the forest with a light opening to the right. Diaz frequently represented specific locations, such as the ancient wood of Bas Bréau or the Vallée de la Solle, but this site cannot as yet be identified with any certainty and may be one of Diaz's more generic views. Narcisse Virgile Diaz de la Peña is perhaps the supreme colorist of the Barbizon school. The son of Spanish emigrés, he grew up in the Bordeaux and trained as a porcelain painter while also taking lessons from Jacques-Louis David's pupil François Souchon. Over the years, he developed his reputation as a painter of rich scintillating color, and his pictures were compared by Théophile Thoré to "piles of precious stones," (Paris, 1844). During a long, commercially successful career, he produced a wide variety of mythological, religious, and genre scenes as well as landscapes of the Forest of Fontainebleau. His mastery of color was much admired by a younger generation of artists.

Scholar Source Context

Document identity
localId
27230
label
Edge of the Forest
core
obj
dtoType
drawing
pageCount
3
Source metadata
id
27230
contentType
drawing
stage
normalized
title
Edge of the Forest
description
"Edge of the Forest" represents a group of overarching trees in the forest with a light opening to the right. Diaz frequently represented specific locations, such as the ancient wood of Bas Bréau or the Vallée de la Solle, but this site cannot as yet be identified with any certainty and may be one of Diaz's more generic views. Narcisse Virgile Diaz de la Peña is perhaps the supreme colorist of the Barbizon school. The son of Spanish emigrés, he grew up in the Bordeaux and trained as a porcelain painter while also taking lessons from Jacques-Louis David's pupil François Souchon. Over the years, he developed his reputation as a painter of rich scintillating color, and his pictures were compared by Théophile Thoré to "piles of precious stones," (Paris, 1844). During a long, commercially successful career, he produced a wide variety of mythological, religious, and genre scenes as well as landscapes of the Forest of Fontainebleau. His mastery of color was much admired by a younger generation of artists.
provenance
William T. Walters, Baltimore, before 1884 [1] [mode of acquisition unknown]; Henry Walters, Baltimore, 1894, by inheritance; Walters Art Museum, 1931, by bequest.[1] number 186 in the catalogue ""Collection of W. T. Walters"" (1884)
date
ca. 1860-1870
rightsUri
CC0
language
en
genreSpecific
Painting & Drawing
watercolors (paintings)
imageCount
3
pageCount
3
source
import
dimensions
units
cm
width
15
height
22.9
dimensionsRaw
H: 5 7/8 x W: 9 in. (15 x 22.9 cm)
Source extras
inscriptions
[Signed] In watercolor
lower left edge: N. Diaz
med
watercolor and ink heightened with gum over graphite on cream, medium thickness wove paper
creator_ids
7221
collection_ids
EAN
exhibition_ids
728
1993
438
2069
637
760
190
404
432
3818
Page inventory
seq
1
type
photo
mediaId
4434de7eaf3f936c
hasOcr
no
hasDescription
no
seq
2
type
photo
mediaId
63081ed83797f71a
hasOcr
no
hasDescription
no
seq
3
type
photo
mediaId
58d64d6b5e39a738
hasOcr
no
hasDescription
no