Vittorio Matteo Corcos

Galleria Goupil, Parigi

Pavia, Scuderie del Castello Visconteo, La Belle Epoque. Arte in Italia 1880 - 1915, 2008, pag. 116, n. 51, illustato a colori

Work ri-lined. From a first hand inspection the painting has undergone a strong dishomogeneous cleansing of the lighter areas in the past; there is a vertical retouch (cm 4 circa) and others next to it along a 15 centimeteres line and a round one (cm 1.5 diameter). The ultra violet light reveals a slight fluorescent varnish, some retouches along the frame, one over the sky on the right-hand side (cm 2.5 diameter); a vertical retouch and other spots over the fur-mantle; a retouch (cm 2) over the right-hand side of the coat. There are vertical retouches (cm 20) from the boat's left-hand side towards the parapet and others over the ship's masts. Moreover there is a restoration on the right-hand side of the signature and some other minor ones over the bench's reils. The overall condition as to the state of preservation is quite good.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

E' durante un breve soggiorno a Saint Malo, in Bretagna, nota località di villeggiatura dell'aristocrazia, che Corcos realizza il dipinto qui presentato. Giunto a Parigi nel 1880, tramite Leon Bonnat, pittore ritrattista dell'alta borghesia francese, l'artista sottoscrive un contratto con la Galleria Goupil durato circa vent'anni.

Fortemente legato all'élite parigina e internazionale, come i suoi connazionali Giuseppe De Nittis e Giovanni Boldini, il pittore diviene noto e richiesto ritrattista, distinguendosi per il suo forte realismo pittorico fatto di pennellate raffinate ed eleganti e dai colori brillanti.

Pur lasciandoci spettatori di un'elegante ricerca stilistica e cromatica e di una sapiente modernità di composizione, qui riscontriamo la sua abilità nella descrizione narrativa del quotidiano: lo sguardo lontano della fanciulla ci suggerisce una continuità d'azione oltre la pura rappresentazione. Le delicate cromie del minuzioso panorama del porto spingono in avanti la figura, unica interlocutrice con lo spettatore.

Sempre nel 1883, la stessa modella verrà raffigurata anche in Idillio al mare.