The Fitzwilliam Museum - University of Cambridge
The Fitzwilliam Museum - University of Cambridge
The Fitzwilliam Museum - University of Cambridge
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58 Constant Troyon<br />
Major Acquisitions<br />
(1810–1865)<br />
Landscape<br />
Oil on canvas<br />
24.5 x 37.2 cm<br />
Given by Julia Crookenden and<br />
Michael Jaye in memory <strong>of</strong><br />
Major-General Crookenden and<br />
Mrs Angela Crookenden, through<br />
<strong>Cambridge</strong> in America.<br />
PD.4-2006<br />
Troyon was one <strong>of</strong> a generation <strong>of</strong><br />
painters in France who drew inspiration<br />
from working in Barbizon to the south<br />
<strong>of</strong> Paris. Largely self-trained, he began<br />
life as a painter on porcelain, but in the<br />
1830s was introduced through his<br />
acquaintance Paul Huet (1803–1869)<br />
to a form <strong>of</strong> naturalist landscape painting<br />
practised by British painters, most<br />
prominently through the exhibition <strong>of</strong><br />
John Constable’s Hay Wain (National<br />
Gallery, London) at the Paris Salon <strong>of</strong><br />
1824. It is likely, too that his knowledge<br />
<strong>of</strong> Constable’s work was derived from<br />
his friendship with the painter, whom he<br />
met in 1832, and who, with Théodore<br />
Rousseau (1812–1867) and Narcisse Diaz<br />
de la Peña (1808–1876), would become<br />
major influences on his future<br />
development. This powerfully evocative<br />
small sketch with its bold use <strong>of</strong> impasto<br />
touches and sureness <strong>of</strong> handling shows<br />
how well Troyon was able to assimilate<br />
the freshness <strong>of</strong> Constable’s palette,<br />
and his ability to represent the freshlywashed<br />
skies <strong>of</strong> Northern Europe.