CHARLES-FRAN?OIS DAUBIGNY (1817 Paris 1878) Moulin, Yonne. 1858. Oil on panel. Signed and dated lower right: Daubigny 1858. 24.2 × 46.2 cm. Provenance: - Sale Sothebys, London, 21.7.1976, Lot 26. - With Kunsthaus Bühler, Stuttgart (label on the reverse, as "Mühle an der Yonne"). - Swiss private collection. Literature: Robert Hellebranth: Charles-Fran?ois Daubigny 1817–1878, Morges 1976, Supplément, p. 34, no. 93 (with ill.). --------------- CHARLES-FRAN?OIS DAUBIGNY (1817 Paris 1878) Moulin, Yonne. 1858. ?l auf Holz. Unten rechts signiert und datiert: Daubigny 1858. 24,2 × 46,2 cm. Provenienz: - Auktion Sothebys, London, 21.7.1976, Los 26. - Kunsthaus Bühler, Stuttgart (verso mit Etikett, als "Mühle an der Yonne"). - Schweizer Privatsammlung. Literatur: Robert Hellebranth: Charles-Fran?ois Daubigny 1817–1878, Morges 1976, Supplément, S. 34, Nr. 93 (mit Abb.). Aufgewachsen in Valmondois, einem kleinen Dorf n?rdlich von Paris gelegen, blieb Charles-Fran?ois Daubigny der Gegend seiner Lebzeiten biografisch und emotional verbunden. Immer wieder kehrte er in die Umgebung von Auvers zurück und erkundete mit seinem Boot die Landschaft rundum Pontoise, Eafny und den Wald bei L’Isle Adam, wovon zahlreiche Studien und Gem?lde zeugen. Seine Ausflüge führten ihn durch weite Teile Frankreichs und liessen ihn unter anderem den Landstrich rund um die Region Bourgogne-Franche-Comté erkunden, durch den sich der Flusslauf der Yonne schl?ngelt und sich in vorliegender Darstellung wiederfindet. Charles-Fran?ois Daubigny und seine Künstlerkollegen, Gustav Courbet (1819–1877), Théodore Rousseau (1812–1867) und Camille Corot (1796–1875), z?hlten zu einer Gruppe progressiver Künstler, welche die franz?sische Landschaftsmalerei des 19. Jahrhunderts hin zum Naturalismus führten und nebst der Anerkennung am Pariser Salon auch eine Wende im ?ffentlichen Kunstgeschmack erwirkten. Zeitgen?ssische Kritiker wie Jules-Antoine Castagnary (1830–1888) rühmten insbesondere Daubignys künstlerische Fertigkeit einer nahezu w?rtlichen übersetzung der Natur, die sowohl durch stilistische Ans?tze des Realismus als auch kompositorische Elemente der gefühlsbetonten Malerei und Subjektivit?t zum Ausdruck kommt (vgl.: Ausst.-Kat. Inspiring Impressionism: Daubigny, Monet, Van Gogh, Scottish National Gallery, Edinburgh 2016, S. 45ff).
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