Abstract
This article examines the patronage of early Barbizon painting by a group of middle-class patrons in the 1840s. It focuses particularly on Paul Périer, Paul Barroilhet and Paul Collot and examines the nature of their personalities, the development of their collections, their relationships with artists and the ultimate dispersal of their collections at the auction house. Their collecting is placed within the context of critical comment of the time. The article argues that the collecting of these patrons represents a significant but neglected moment in the establishment of a taste for Barbizon work in the mid-nineteenth century.
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