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Woman with a Pink Shawl
Jean-Baptiste-Camille Corot (French, 1796–1875)
about 1865–70
Medium/Technique
Oil on canvas
Dimensions
Overall: 66.7 x 55.2 cm (26 1/4 x 21 3/4 in.)
Credit Line
The Henry C. and Martha B. Angell Collection
Accession Number19.81
NOT ON VIEW
CollectionsEurope
ClassificationsPaintings
Although he is best remembered as a landscape painter, Corot produced numerous portraits of family, friends, and models, especially in his later years when illness confined him to his studio. His figure paintings were often left unfinished, and some—like this picture of a seated girl with a shawl over one shoulder—were not intended for public display. Most were exhibited for the first time at a posthumous sale of Corot’s studio contents in 1875.
InscriptionsStamped, lower left: VENTE / COROT
ProvenanceMay 26-28, 1875, posthumous Corot sale, Hôtel Drouot, Paris, lot 474, to Vérane [see note 1]. With Alexis-Eugène Detrimont (b. 1825), Paris [see note 2]. 1888, sold by Aimé Diot (dealer; b. 1842 - d. 1896), Paris, to Henry Clay Angell (b. 1829 - d. 1911), Boston [see note 3]; 1911, by inheritance to his widow, Martha Bartlett Angell (b. 1833 - d. 1919), Boston; 1916, gift of Martha Bartlett Angell to the MFA; 1919, upon Mrs. Angell's death, accessioned fully by the MFA. (Accession Dates: October 19, 1916 and March 20, 1919)
NOTES:
[1] An annotated copy of the auction catalogue provides the buyer's name; also see Alfred Robaut, "L'oeuvre de Corot, catalogue raisonné et illustré," vol. 3 (1905), no. 1580. [2] As suggested by a stamp on the reverse of the painting. Detrimont was a dealer, restorer and framer; it is not known what role, if any, he played in the sale of this painting. [3] According to Henry Clay Angell (written statement, 1909; in MFA curatorial file).
NOTES:
[1] An annotated copy of the auction catalogue provides the buyer's name; also see Alfred Robaut, "L'oeuvre de Corot, catalogue raisonné et illustré," vol. 3 (1905), no. 1580. [2] As suggested by a stamp on the reverse of the painting. Detrimont was a dealer, restorer and framer; it is not known what role, if any, he played in the sale of this painting. [3] According to Henry Clay Angell (written statement, 1909; in MFA curatorial file).