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Jean-Baptiste-Camille Corot (1796-1875)
Aliases: Camille Corot; Jean-Baptiste Camille Corot
Professions: Painter; Lithographer; copperplate engraver
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Jean-Baptiste-Camille Corot , 1796-1875 Juive d'Alger (l'Italienne) Oil on canvas
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JEAN-BAPTISTE-CAMILLE COROT
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Jean-Baptiste-Camille Corot (French, 1796-1875)
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*JEAN-BAPTISTE CAMILLE COROT 1796-1875
Jean-Baptiste-Camille Corot Biography
(b Paris, 1796; d Paris, 1875) French Painter. Corot is credited with being a progenitor of Impressionism. His method of painting en plein air drew the interest of Renoir, Monet, Sisley, Morisot and Pissarro, all of whom either experimented with Corot's technique or called themselves his "pupils." From the mid-1860s onward, the demand for Corot's paintings was inexhaustible. His studio was often crowded with critics, collectors, dealers and students who clamored to see him at work. During this period Emperor Napoleon III bought two of Corot's paintings: his 1864 Salon entry Souvenier de Mortefontaine (Musée du Louvre) and La Solitude of 1866 (location unknown), and contemporary critics wrote glowingly of his work: "M. Corot has a remarkable quality that has eluded most of our artists today: he knows how to invent. His point of departure is always nature, but when he arrives at the interpretation of it, he no longer copies, he remembers it" (Du Camp, 1864) Financially independent, Corot did not have to rely on the Académie des Beaux Arts system for his advancement and remuneration, and thus he had always been free to paint in his own manner. After the public protests that surrounded the Salon of 1863, Corot was elected by the constituent artists to serve as a member of the jury in 1864, 1865, 1866 and 1870, eventually becoming hors concours and thus able to enter his own work to the Salon directly. Corot was therefore able to advance his artistic vision by the promotion of his followers in the Salon. He was elected an officer of the Legion of Honor in 1867, and the same year he received a silver medal at the Exposition Universelle. The vast majority of Corot's Salon entries during the years 1865-70 were landscape subjects that were given generalized titles to emphasize their independence from meaningful incident. True to the tenants of Romantic landscape, Corot strove to communicate emotion in his painting, so that the picture became more of a reminiscence of a place than an exact transcription of it. (Credit: Christie’s, New York, Barbizon, Realist and French Landscape Paintings, May 22, 1997, Lot 190)
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Jean-Baptiste-Camille Corot
Jean-Baptiste Camille COROT (Paris 1796 - 1875)
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Jean-Baptiste-Camille Corot
Jean-Baptiste Camille COROT (Paris 1796 - 1875)
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Jean-Baptiste-Camille Corot
LARGE COROT LANDSCAPE PRINT
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Jean-Baptiste-Camille Corot
The Bay of Naples with the Castel dell'Ovo
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Jean-Baptiste-Camille Corot
Jean-Baptiste-Camille Corot , 1796-1875 LOUISE-LAURE BAUDOT Oil on canvas laid down on card
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Jean-Baptiste-Camille Corot
u - Jean-Baptiste-Camille Corot , Le sentier au printemps
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Jean-Baptiste-Camille Corot
Le Colisée
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Jean-Baptiste-Camille Corot
JEAN BAPTISTE CAMILLE COROT (FRENCH, 1796-1875) Ville d'Avray-
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Jean-Baptiste-Camille Corot
JEAN-BAPTISTE-CAMILLE COROT
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