Camille Corot, ritrattoCamille CorotFrancia, 1796–1875

Paysage

19e siècle · Painting · 39.2 × 48.5 cm

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Musée Louis-Français

Plombières-les-Bains, Francia

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Con le parole del museo — in francese

Le tableau représente un sous-bois. Au premier plan, de nombreux rochers prennent place. De grands arbres occupent toute la place du tableau à partir du second plan. Seul une petite portion du ciel bleu est visible.

Musée Louis-Français

Scheda

Numero di inventario
503 ; 56 (ancien n° d'inventaire)

Che cosa raffigura

In catalogo

Fonti

  • Musée Louis-Français
  • Immagine: Musée Louis-Français — © LEBRET Catherine; Ministère de la Culture (France), base Joconde

Nella vita di Camille Corot

Tutta la vita
  1. 1807–1812 · Formazione

    Lycée Pierre-Corneille

  2. 1822

    His father consents to an artist's career

    At 26 Corot won his father's consent to adopt the profession of art; he later recalled telling his father that business and he were simply incompatible and that he was getting a divorce.

  3. 1825–1828

    First trip to Italy

    With his parents' support Corot went to Italy to study the Renaissance masters and draw the crumbling monuments of antiquity; his parents' condition was that he paint a self-portrait for them, his first. In three years he completed over 200 drawings and 150 paintings, worked and travelled with several young French painters, and spent most of his time around Rome and in the Italian countryside.

  4. 1827

    Salon debut: “View at Narni”

    In 1827 Corot sent his first painting to the Salon, “View at Narni”. He transformed a quick study of a ruined Roman aqueduct in bright sun into an idyllic pastoral setting with giant shade trees and green lawns, a conversion meant to appeal to the Neoclassical jurors.

  5. 1835

    A sensation at the Salon: “Hagar in the Wilderness”

    In 1835 Corot created a sensation at the Salon with his biblical painting “Hagar in the Wilderness”, showing Hagar and the child Ishmael dying of thirst until saved by an angel; his bold, fresh statement of the Neoclassical ideal succeeded with the critics. The biblical and mythological subjects that followed did not succeed as well, as the critics found him wanting in comparison with Poussin.

  6. 22 febbraio 1875

    Died

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Dalla collezione: Musée Louis-Français

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