Landscape at Arleux-du-Nord
La Flèche D’Or, Important Pictures from French Collections, Arthur Tooth & Sons Ltd, London, 1936, no. 7
How Impressionism Began. An Exhibition showing the rise of the Impressionist Movement in France, with special reference to earlier painters whose work influenced the Impressionists, Arts Council/ National Museum of Wales, Cardiff, 1960, no. 5
Corot, Marlborough Fine Art, London, 1963, no. 43; Corot. An Exhibition of Painting, Drawing and Prints, Royal Scottish Academy of Painting, Edinburgh and National Gallery, London, 1965, no. 92
The Birth of Impressionism, Tobu Museum of Art, Tokyo 1996, no. 25
Corot. Souvenirs et variations, National Museum of Western Art, Tokyo, Kobe City Museum, Musée des Beaux-Arts, Reims, 2008–9, no. 104 (Tokyo and Kobe only).
1. For a full discussion of materials and technique see article by S. Herring, ‘Six Paintings by Corot in the National Gallery: Methods, Materials and Sources’, National Gallery Technical Bulletin, 30, 2009.
2. See M. Pantazzi, V. Pomarède and G. Tinterow, Jean-Baptiste Camille Corot (1796-1875), exh. cat., Paris/ Ottawa/New York 1996–7, p. 266.
3. White, Pilc and Kirby 1998, p. 80.
4. For Corot’s work in northern France see D. Horbez, Corot et les peintres de l’école d’Arras, Tournai 2004.
5. R2018, height 46 cm, length 60 cm. This version was no. 54 in Exposition Corot 1796–1875, Galerie Schmit, Paris, 1971. Robaut cites two etchings after this version: one by Léon Gaucherel (1816-1886) (Galerie Durand-Ruel) and one by his pupil, Lucien Marcélin Gautier (1850–1925) (Keppel editions). A further example of their collaboration is Corot’s Souvenir d’Arleux du Nord (R2189), which was painted for Robaut. The latter, to help Corot, sketched the canvas with a drawing after one of his own sketches made in 1871. Corot painted his work over this preparation. Exhibited at the Salon of 1874 (no. 458), this also went from Robaut into the Verdier collection.
6. Verdier was a keen collector of Corot’s work, and owned at least 39 of his paintings. Writing of the period March 1873, Moreau-Nélaton states: ‘En même temps, il poursuivait sa besogne courante, pour satisfaire la nombreuse clientèle qui le harcelait: les Brame, les Tédesco, les Beugniet, les Durand-Ruel, les Breysse, les Weyl, les Audry, sans compter Cléophas et son neveu Surville, Oscar Simon, Hermann, le dentiste Verdier et le médecin Cambay.... M. Robaut lui même revendiquait sa part des chefs-d’oeuvre qu’il voyait éclore, quotidiennement, et Corot la lui abandonnait volontiers.’ Moreau-Nélaton in Robaut 1905, I, pp. 181–2. In this case Verdier did not acquire the painting from Corot, but from Robaut, possibly at Corot’s suggestion.