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Jean-Baptiste-Camille Corot"Soir dans une gorge Boisee" Jean-Baptiste-Camille Corot, Plein-Air Landscape1850-1855
1850-1855
$60,000
£44,817.13
€51,958.31
CA$83,308.50
A$93,378.10
CHF 48,619.24
MX$1,140,186.60
NOK 617,287.68
SEK 585,133.20
DKK 387,665.28
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About the Item
Jean-Baptiste-Camille Corot
Soir dans une gorge Boisee, 1850-55
Signed lower right
Oil on board
13 1/2 x 9 inches
Provenance:
Dutilleux, Paul Tesse, etc.
Quincy Adams Shaw
Pauline Shaw Fenno, Rowley, Massachusetts
Marian Fenno McIlvaine
William B. McIlvaine, Chicago
Exhibited:
Boston, Museum of Fine Arts, circa 1913.
Literature:
Alfred Robaut, L'oeuvre de Corot, Vol. II, Paris, 1965, no. 1210, p. 381, illustrated.
A foremost figure in the development of nineteenth-century French landscape painting, Jean-Baptiste-Camille Corot was born into a family of merchants and started out as a draper by trade. Only in 1822 did he receive permission from his father and financial support from the family to embark on his career in painting. He joined the workshop of Achille-Etna Michallon, who instructed him in Neo-Classical doctrine and advised him to paint outdoors. A few months later, after his first master died, he continued his training under Jean-Victor Bertin.
In 1825 Corot travelled to Rome, where he spent the following three years. He came into contact with the circle of Théodore Carnelle d’Aligny and visited the city and surrounding area with them to paint in the open air. Corot would return to Italy twice (1834 and 1843), and when back in France made many excursions during the summer to paint from life. In winter he worked in his studio and produced larger paintings to be shown at the Salon. In addition to landscape, Corot was also interested in the human figure, and portraits of friends and relatives accounted for part of his private works.
In the 1830s Corot’s work gained greater recognition and his career was given definitive impetus in 1840 when Le Petit Berger (La Cour d’Or, Musées de Metz) was acquired by the state. In 1846 Baudelaire and Champfleury praised his art and many collectors and gallery owners, among them Paul Durand-Ruel, began to show an interest in his work. About 1850 his painting started to focus on his own impressions of nature, and his poetic landscapes, midway between the real and the ideal, became highly sought after. As a result Corot started repeating his themes and imitations of his work became widespread.
Following a period, from 1866–70, in which Corot was confined to his studio for health reasons, his creative impetus made a powerful resurgence and he made many trips to paint outdoors. He died in 1875.
- Creator:Jean-Baptiste-Camille Corot (1796-1875, French)
- Creation Year:1850-1855
- Dimensions:Height: 20 in (50.8 cm)Width: 15.5 in (39.37 cm)
- More Editions & Sizes:Unique WorkPrice: $60,000
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1841215946302
Jean-Baptiste-Camille Corot
Corot was a French landscape and portrait painter as well as a printmaker who is considered a great master of landscape painting in the 19th century. A pivotal figure in landscape painting, his vast output (over 3,000 paintings) simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. In the spring of 1829, Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830. The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870.
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