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Freemanart Consultancy Art Authentication and Attribution:

French Barbizon School Art and Paintings of Fontainbleau.

 

 

"We should all realise that we can only talk about the bad forgeries, the ones that have been detected;

the good ones are still hanging on the walls."

Theodore Rousseau

 

 

 The Freemanart Consultancy's vast international experience in directing art authentication and artist attribution investigations, includes all fine art genres, artists and periods of art history. We have expertise and specialists who are expert on the works of the Barbizon School artists and sadly there are plenty of fakes and forgeries claiming to be Barbizon school for us to investigate.

 

 For over 42 years we have been professionally conducting academic and forensic investigations into the authenticity or otherwise of works of art originating from the true Barbizon school, for private and corporate clients around the world. Identifying those which are by followers, copyists, or those paintings which are just plain fakes pretending to be by artists of L'École de Barbizon,

 

 

 

 

  Some 35 miles to the south of Paris lies the town of Barbizon and around it, the Forest of Fontainbleau.

Once the hunting ground of kings, it soon drew the attention of history making artists who embraced their native landscape amongst its shadows. Artists such as Jean-Baptiste-Camille Corot and Claude Monet and that started the ball rolling:

 It was here in Barbizon that, following in their footsteps, the French artists Théodore Rousseau, Jean-François Millet and Charles-François Daubigny founded a movement called - L'École de Barbizon, or the Barbizon school. And soon the list of artistic names painting here in and around Fontainbleau became huge.

  Other members of the Barbizon group of painters included; Jules Dupré, Constant Troyon, Charles Jacque, Narcisse Virgilio Díaz de la Pena, Pierre Emmanuel Damoye, Charles Olivier de Penne, Henri Harpignies, Paul-Emmanuel Péraire, Gabriel-Hippolyte Lebas, Albert Charpin, Félix Ziem, François-Louis Français, Émile van Marcke and Alexandre Defaux.

 This stormy landscape to the right by Théodore Rousseau, is typical of his dark and sombre painting style and many artists followed suit.

 

Charles Daubigny soleil-couchant-sur-loise

Charles Daubigny soleil-couchant-sur-loise

 

 

 It doesn't take much to copy the famous and valuable signature of Theodor Rousseau and add it to any old unsigned work by a lesser known artist. A dark landscape by anyone just painting in the style of the man will do nicely and it is one of the most common art fraud attempts we see. Signature forgery.

 But painting in this particular impressionistic style is not that difficult either and art fraud doesn't have to be in the hundreds of thousands to tsake the risks involved, it also works very well for the fakers and crooked art dealers in the thousands and even hundreds!

 

 

 

Henri Joseph Harpignies - Vue d'un village

Henri Joseph Harpignies Vue d'un village

 

 

Félix Ziem (1821-1911).

"Cerf dans la forêt de Fontainebleau".

 

 

 

 

 

Authenticating  Barbizon Art

 

Diaz de la Pena

Diaz de la Pena

Constant Troyon

Constant Troyon

 

Charles Jean Georget - Eventide Fontainbleau  

Charles Jean Georget - Deer at Eventide Fontainbleau

 

  Other Barbizon and Fontainbleau painters that associated themselves with the Barbizon Fontainbleau region were:

Camille Flers, Charles Emile Jacque, Leon-Victor Dupre, Antonio Fontanesi, Antonio Fontanesi Italian Painters. The American Painters William Morris Hunt, Hamilton Irving Marlatt, Alexis Jean Fournier and , Henry Ward Ranger, Jules Jacques Veyrassat, Paul Desire Trouillebert, Charles Jean Georget and Frédéric Bazille, Richet and Jules Dupre all painted here.

But the Georget to the left is genuine.

'Jeune cerf dans la forêt de Fontainbleau.'

 

 

  The Freemanart Consultancy can assist you with all authentication issues concerning Barbizon School works of art and its associated artists working in or around Fontainbleau. Including pre purchase, due diligence and duty of care matters, the identification of fakes and forgeries and the processiong of authentification and attributions which are fully internationally recognised and underpinned.

 

 We always prefer to conduct an initial professional pre authentication assesment for clients first, to establish and balance the viability of continuance with any academic or forensic art authentication investigation before you begin.

It makes a great deal of economic sense.

Please review our FAQ's for the process and route.

Th. Rousseau

 

 

 

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