Jean-Baptiste-Camille Corot Posters Prints

Self Portrait

Girl Reading Art Print

Belfry Douai Art Print

View of Rome

L'Homme a L'Armure Assis

Landscape Giclee Print

The Gust of Wind

Les Baigneuses Gicleet

Castel Sant'Angelo Rome, Italy

View of Arleux from Marshes Palluel

Nymph Playing with Cherub

Dance of Nymphs

Corot was a guiding painter of the Barbizon school of France during the mid-nineteenth century. He is a important figure in landscape painting: His art both credits the Neo-Classical tradition and predicts the plein air conceptions of Impressionism. On him Claude Monet declared "There is only one master here Corot. We are nothing compared to him, nothing." Corot contributed to the future of figure painting as well, this being scarcely less essential. Edgar Degas favored the figure paintings of Corot to his landscapes, while the classical figures seen in Pablo Picasso's art give obvious homage to Corot's work.

Historians randomly separated Corot's work into separate periods, although the exact place where variance occurs is not definite. Corot would frequently finish a painting years after he started it. In his earlier years he painted in a traditional manner as well as tight, depicted with careful preciseness, clean outlines and with total definition of objects throughout the canvas. Following his 50th year his techniques shifted to encompass a broader range in color tone as well as a prelude to poetic strength, and around twenty years hence, from 1865 forward, his style of painting turned laden in mystery and poetic symbolism. Partly, this development in expression is viewed as note on the passage from the plein air paintings of his early days, filled with warm natural lighting, to the studio produced landscapes of his advanced maturity, which were engulfed in consistent tones of silver. In his last ten years he became the "Pere Father Corot" of Parisian artistic sets, where he was viewed with personal affection, and recognized as among the best landscape painters the world has known, beside Hobbema, Claude Lorrain, Turner as well as John Constable.

Goatherds of Castel Gandolfo

Corot, Self-Portrait 1825

Pastoral Scene Giclee Print

Punting Giclee Print

Summer Giclee Print

Diana Bathing Giclee

Windmill Giclee Print

Chartres Cathedral Giclee Print

Bridge at Mantes Giclee Print

Souvenir of Montefontaine

Souvenir of Italy

Corot set about the landscapes he painted in a more traditional manner than is generally thought. Besides the landscapes, which he painted many hundred and became so popular that there are today numerous counterfeits, Corot created a quantity of distinguished figure works. Although the subjects were occasionally positioned in rural backgrounds, they were generally studio works, drawn out of the live model including both attention to detail and nuance. Similar to his landscapes, these figure paintings can be defined by a meditative lyricism. Several of these are good arrangements, and in each cases the coloration is extraordinary for its effectiveness and purity. Corot also accomplished numerous etchings and pencil studies.

Corot acquired little from his teachers. He traveled to Italy three times, with two of these visits recorded in Roman studies which today reside in the Louvre. A steady contributor to the Paris Salon, in 1846 the French authorities awarded him the cross of the Legion d'Honneur, and he was advanced to an officer in 1867. His numerous acquaintances regarded, all the same, that he was disregarded by the art establishment, and so in 1874, just prior to his dying, they awarded him with a gold medal. He passed away in Paris and is entombed at Pere Lachaise.

In the final few years of his lifetime Corot brought in great amounts with his paintings as they were in large demand. In 1871 he contributed to the poor of Paris which at the time was under military blockade by the Prussians. In the literal Paris Commune he had been at Arras with Alfred Robaut. In 1872 he purchased a house in Auvers for Honore Daumier, who at the time was blind, lacking funds and homeless. In 1875 he gave funds to the widow of Millet to aide her children. His charity was close to proverbial. He likewise financially held up the keep of a day care for children in Paris.

Museums: Jean-Baptiste-Camille Corot may be found at the J. Paul Getty Museum, Los Angeles and the Art Institute of Chicago.

- A View near Volterra 1838
- Agostina c. 1866
- Avignon from the West 1836
- Baigneuses au Bord d'un Lac 1861 private collection
- Biblis 1875
- Chartres Cathedral 1830
- Correggio 1532
- Femme Lisant 1869
- Forest of Fontainebleau 1846
- Hagar in the Wildernessl 1835
- La Toilette 1859
- Lady in Blue 1874
- L'Arbre brisé 1865
- Macbeth and the Witches 1859 Wallace Collection
- Meadow by the Swamp National Museum of Serbia
- Morning, the Dance of the Nymphs c.1850
- Pastorale Souvenir d'Italie 1873 Glasgow Art Gallery
- Peasants Under the Trees at Dawn, Morvan 1840-4
- Portrait of Laurent-Denis Sennegon, 1842
- Portrait of Mme. Legois, 1838
- Souvenir de Mortefontaine (1864 Louvre
- Souvenir of Mortefontaine 1864
- The Bridge at Narni 1826
- The Cathedral of Mantes 1865-69
- The Destruction of Sodom, detail, reworked 1857
- The Forum Seen from the Farnese Gardens 1826
- The Goat-Herd of Genzano 1843
- The Letter 1865
- The Sin-le-Noble Road near Douai 1873
- Une Matinee 1850 private collection
- Venise, La Piazetta 1835
- View from the Farnese Gardens, Rome 1826
- View of Genoa 1834
- View of Genoa from the romenade of Acqua Sola 1834
- View of Saint Lo with the River Vire in the Foreground 1850-55
- Ville d'Avray 1867
- Ville d'Avray The Pond and the Cabassud House, 1835-40
- Woman Reading in a Landscape 1869
- Woman with a Pearl
- Young Woman with a Mandolin 1865