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Corot Camille
Tivoli The gardens of the village
mk131
1843
Composed with the severity of the landscape painters clasicos, but without losing an apice of the immediacy of the free air
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Corot Camille
The Waterfalls
mk131
1843
As the previous one, was painted during the I finalize trip of corot to ltalia.
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Corot Camille
Homero and the shepherds
mk131
1845
It inspired in a poem of Andre chenier, Corot yields aqui tribute al classicist teaching of Bertin and in finalizes instance, of poussin and cludio of lorraine.
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Corot Camille
The dance of the nymphs
mk131
Hacial 1850 Exhibited with flat exito in the Salon of 1851 This work consagraria at last the fame of corot, Although in a well different registration from the one that testifies its
better qualities.
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Corot Camille
Nymph Reclined
mk131
Toward 1857 they dealt with the smooth light and the espirutu poetico own of its landscapes bucolicos. The prodigious naked one that dominates the composicion overflows with a lot of the somewhat cloying conventionality of that part of the work of corot.
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Corot Camille
The Baptism of Christ
mk131
1847 Painted by official assignment for the baptismal chapel of San Nicolas of Chardonnet, in Paris, Is one of the
scarce incursions of corot in to painting decorative.
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Corot Camille
I remember of Mortefontaine
mk131
Toward 1864 Mortefontaine is a jardin picturesque al north of Paris created in the 17th century and plagued of lakes and rarely Vegetable species.
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Corot Camille
The morning star
mk131
1864 inspired in some verses of Alfred of Musset al way of the False bard Ossian, so diffused by the Romanticism in every Europe.
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Corot Camille
The road of Without-him-Noble
mk131
Near Doual 1873 In some cases, Corot explores a via intermediate and of buy-miso between the compositions liricas and the nature observed in direct
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Corot Camille
View of Saint-It
mk131
1833 Corot continuous developing in France the same way of Representing cities in lajanas views panoramicas learned in ltalia the decada previous
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Corot Camille
View of Saint-It
mk131
1833 Corot continuous developing in France the same way of Representing cities in lajanas views panoramicas learned in ltalia the decada previous
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Corot Camille
The Cathedral of market analyses
mk131
1830 TO Corot him sorpendio in chartres the Revolucion of July
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Corot Camille
The Cathedral of market analyses
mk131
1830 TO Corot him sorpendio in chartres the Revolucion of July
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Corot Camille
The antepuerto of Rouen
mk131
1834
Almost all the painters of the XIX-EVEN the own impressionists changed of registration in the sent pictures al
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Corot Camille
The Seine and the Quai give orfevres
mk131
1835 Almost all the painters of the XIX-EVEN the own impressionists changed of registration in the sent pictures al
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Corot Camille
The Moulin of the Calette in Montmartre
mk131
1840 they Lacked todavia many anuses so that the hill of Montmartre itself to Become place of Favorite residence of the painters in Paris and so that in this luar, even rural, the room of dance was installed al air free immortalized by renoir in its famous picture.
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Corot Camille
The houses of cabassud
mk131
1835-1840 Corot passed long seasons in the property of its family in ville d'
avray.
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Corot Camille
Path on the Rlo
mk131
With the excepcion of the groins Constable, ningun painter speaks presented with taanta boldness the idea of the landscape as fragmeto of nature, and not cmo alegoria or reconstruccion ideal and escenografica of an order arquetlpico.
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Corot Camille
The castle of pierrefonds
mk131
Toward 1840-1845 As in the views of ciucdades, Corot chooses a distant point of view that permits him recogerel motive with amplitude
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Corot Camille
The quai give paquis in geneva
mk131
1841 criticizes has discussed It on the date of this picture, that at times is delayed until 1859 or even
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| Corot Camille
|
French Realist Painter ,
1796-1875
French painter, draughtsman and printmaker. After a classical education at the Coll?ge de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family's continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon's death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers
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