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Corot Camille
The road of sevres
mk131
Toward 1855 The vision level in depth of a rural road to be another of the motives that the impressionist from monet and renoir to pissarro and sisley-take of corot, although they be used to preferring frame diagonals that are distinguished of the caracteristica composicion horizontal of the teacher.
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Corot Camille
Rafaga of wind
mk131
1865 Exposed with exito in the salon of 1867 is a matter of a composicion carried out in study in spite of its liberty tecnica, and sample the capacity of corot to retain long time its famous first one impresion.
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Corot Camille
The vaguada
mk131
1855 Corot approaches aqul, by the intensity and coolness of its green, to the examples but advanced of the school of Barbizon, especially to Daubigny.
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Corot Camille
seine al bridge
mk131
Toward 1868-1870
Corot visited frequently Mantes, where tenia friends, and alli I paint a view of l city and various pictures of the city and various pictures of the cathedral and the bridge on the seine.
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Corot Camille
The bridge of Mantes
mk131
Toward 1868-1870
Corot visited frequently Mantes, where tenia friends, and alli I paint a view of l city and various pictures of the city and various pictures of the cathedral and the bridge on the seine.
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Corot Camille
The church of Marissel
mk131
1867 Presented in the Salon of 1867, Was another of the large exitos that sprinkled the ultimos anuses of Corot.
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Corot Camille
The bell tower of Doual
mk131
1871 Corot I paint this view from the window of a habitacion in Douai during Long sessions in which not admitia views that distracted him.
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Corot Camille
Entrance of Coubron
mk131
Toward 1874 Since 1867 Corot maintained in this place close to Beauvais a study in the country that hardly anybody conocia.
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Corot Camille
Interior of the Cathedral of sens
mk131
1874 painted from life pocoantes desu death, the theme, little frequent in corot, remits to the Dutch painting of the XVII and to the romanticos English, very given al mystery of the religious interiors.
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Corot Camille
Self-Portrait
mk131
It painted immediately before its trip to ltalia to peticion of its famila, that queria to conserve a memory during the long absence.
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Corot Camille
Portrait of Mme
mk131
Baujot 1837 Corot that never itself case, tenla true devocion by the daughters of its sisters, to the ones that treated as own.
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Corot Camille
Claire Sennegon
mk131
Charmois 1837 Claire was, al to seem, the niece favo-rita of corot, the one that but recalled its own mother, to which worshipped-always itself referia to her as the belle you give me.
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Corot Camille
Reader crowned of flowers or The Muse of virgil
mk131
1845 one of the first samples of the figures alegoricas that Corot frecuentaria al final of its career.
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Corot Camille
Marietta
mk131
1843 Corot I paint few naked, but always with singular fortune and with an accent incofundible in the pntura French du its time.
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Corot Camille
Girl Peninandose
mk131
1860-1865 It influence-cla of pictures as this on the toilettes of Degas is evident.
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Corot Camille
The woman of the pearl
mk131
1868-1870 Without doubt is the but famous of the pictures of figures of corot and the one that but fascinacion has exercised despues on impressionists and cubist.
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Corot Camille
Christine Nilson or Bohemia with Mandolin
mk131
1874 Corot declares in these portraits of study its aficion by the theater and
operates it.
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Corot Camille
The lady of blue
mk131
1874 Surely and I finalize and but extrano of the pictures of figures painted by Corot
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Corot Camille
The Little Shepherd
mk141
1840
Oil on canvas
135x110cm
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Corot Camille
The Italian vill behind pines
mk209
undate
61x44
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| Corot Camille
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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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