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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche
Théobald Chartran - Priam asking Achilles for the return of Hector's body
 Escalier de cristal - Ecran de cheminée

Marietta, or Roman Odalisque

Paris, 1796 – Paris, 1875
Rome, 1843
Oil on paper marouflaged on canvas
29,3 x 44,2 cm

Marietta posed for Corot in the studio of Achille Benouville during the painter's third and last stay in Rome. With a transparent frottis that leaves the initial pencil lines showing, the work is a subtle combination of pink ochre, brown, white and pale green.
This bareness contributes to the unique character of this study, which is evidence of the diversity of Corot’s pictorial resources.

The young Corot studied painting with the neo-classical landscape artists Achille Michallon and Jean-Victor Bertin. With the financial help of his parents, traders in Paris, he was able to travel freely. He therefore travelled across France, stayed in Italy three times, and discovered Switzerland, the Netherlands and England. He was one of the first outdoor artists to work in the forest of Fontainebleau.

This Parisian lived for part of the year in Ville-d’Avray, where he made the pond by his family home famous. Baudelaire, Gautier and Champfleury defended this original artist who combined realism and poetic invention in a totally new way. Soon Corot broadened his initial vocation to be a landscape painter and placed more importance on the figure, with women becoming one of the central themes of his work in the 1860. The nude studies he painted in his studio were used in elegiac compositions.

The publication in 1905 of the Catalogue raisonné de Corot by Alfred Robaut developed the understanding of the work of the landscape artist, while revealing the importance of the figure painter, of whom Degas said, “He is always on top, he thinks of everything”.

Marks Inscriptions Hall-marks: 
Corot sale stamp, bottom left
Inventory number: 
Inventory number : PDUT01158
Acquisition details : Purchase, 1934
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