Jean-Baptiste Camille Corot

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Camille Corot, photography by Nadar

Jean-Baptiste Camille Corot (born July 16, 1796 in Paris , † February 22, 1875 there ) was an important French landscape painter. He is one of the main exponents of the Barbizon School .

Life

Camille Corot came from a middle-class background. His mother was a successful milliner . Born in Paris, he first lived with a wet nurse in the country. After attending a boarding school in Paris, he attended high school in Rouen and completed an apprenticeship as a cloth merchant. During this time he lived with the Sennegon family in Bois-Guillaume, with whom his father was friends. The son of the house later married Corot's sister, Annette Octavie. At the age of 26 he gave up the unpopular business activity and embarked on a career as an artist. His earliest surviving works are small-format landscape paintings from August 1822. He then became a pupil of Jean-Victor Bertin , a main representative of classical landscape painting . In 1825 he traveled to Rome and painted for three years in the Campagna Romana . Back in Paris, he moved into a studio on Rue Voltaire. He also went on foot trips through France , the Netherlands and Switzerland . From 1827 he regularly took part in the Paris Salon .

Corot devoted much of his attention to charitable causes, particularly in his later life. He converted his enormous commercial success, which he increased among other things through a sophisticated marketing concept for his works, into a wide range of social engagement. In the artistic milieu, Corot arranged orders for younger colleagues. His most important students were Berthe Morisot and Camille Pissarro . He donated large sums to the poor in Paris on several occasions. In 1872 Corot bought a house for the destitute and meanwhile blind Honoré Daumier . In 1875 he donated 10,000 francs to Jean-François Millet's widow so that she could support her children. Corot also supported a day care center on Rue Vandrezanne in Paris.

In 1846 he was made a Knight of the Legion of Honor , and in 1867 an officer. Most recently Corot lived at number 56 on the Rue du Faubourg Poissonnière in Paris . Corot remained unmarried and childless. Germain Bazin wrote in 1942: He did not need to go on living in flesh and blood and to follow the dark instinct that is common to all people . His remains were interred in the Père Lachaise cemetery in Paris .

power

Bridge at Narni

In Italy, Corot found his landscape painting with free but taut composition and subdued colors, which he developed after 1850 into a pure mood painting. He was one of the main representatives of the Barbizon School , which included Théodore Rousseau , Charles-François Daubigny and Jean-François Millet , among others . In his later years, as Père Corot, he was the father figure of the Parisian art scene and was considered the leading landscape painter in France. His contemporaries include William Turner and John Constable . In addition to landscape painting, which often has astonishing similarities with photography, which appeared later, Corot also created portraits of women.

Corot had decisively influenced the development of Impressionism. A number of well-known painters referred to Corot or referred to themselves as his students, such as Eugène Boudin , Stanislas Lépine , Antoine Chintreuil , François-Louis Français , Berthe Morisot , Charles Le Roux and Barthélemy Menn .

Fakes

Camille Corot is one of the world's most fake artists. On the one hand, this is due to his generosity: he gave away and bequeathed many of his pictures without making any records. He also gave some of the pictures to artist friends whom he allowed to make copies of them. In his later years, when he had come to fame, poor artist friends gathered around him, whom he came to the aid of by having variations of the same motif made in his studio. He wasn't always precise with his signatures either. He left his own works unsigned, revised works by colleagues and signed them with his signature at their request. On the other hand, art dealers signed works by him with their signature. According to the FAZ art critic Niklas Maak , Fernand Léger admitted to having painted "twenty-five false corots" in order to earn money. Corot is said to have once scoffed: "Of 1500 pictures that I have painted, 3000 are in America."

Corot's tremendous productivity and the diversity of his style contributed to the fact that counterfeits are sometimes difficult to spot. Its popularity among US art collectors helped it spread rapidly and widely.

Works

The Mantes Bridge
Rome, view from the Farnese Gardens
Florence
La Vire à Saint-Lô
  • Bridge of Narni - Augustus Bridge over the Nera (Paris, Musée du Louvre), 1826, oil on canvas, 34 × 48 cm
  • Colosseum and Farnese Gardens in Rome (Paris, Musée du Louvre ), 1826, oil on canvas, 30.5 × 48 cm
  • The Albanian Woman (L'Albanaise) exhibited in New York at the Brooklyn Museum
  • Forum and the Farnese Gardens in Rome (Paris, Musée d'Orsay ), 1826, oil on canvas, 28.8 × 50.4 cm
  • Castelgandolfo (Budapest, Szépművészeti Múzeum ), around 1826, oil on canvas, 36.3 × 28.3 cm
  • Woman with a mandolin (Paris, private collection), 1826–28, oil on canvas, 34 × 26 cm
  • Italian woman with jug (Paris, private collection), 1826–28, oil on canvas, 23 × 30 cm
  • Chartres Cathedral , 1830 (Musee du Louvre, Paris, Moreau-Nelaton Collection)
  • Honfleur - Calvary on the Côte de Grâce (Paris, Renand Collection), around 1830, oil on canvas, 30 × 42 cm
  • Fontainebleau Forest (Paris, Renand Collection), 1830–35, oil on canvas, 48 ​​× 59 cm
  • Huts with a mill on the banks of the stream (Paris, Musée Cocnacq-Jay), 1831, oil on canvas, 53 × 54 cm
  • Portrait of Octavie Sennegon (Paris, Renand Collection), 1833, oil on canvas, 35 × 29.5 cm
  • City and Lake of Como (Paris, Peytel Collection), 1834, oil on canvas, 29.5 × 42 cm
  • View of Genoa (Chicago, Art Institute ), 1834, oil on canvas
  • Morning in Venice (Moscow, Pushkin Museum), 1834, oil on canvas, 27 × 40 cm
  • View of Florence from the Giardino di Boboli (Paris, Musée du Louvre), after 1834, oil on canvas, 51 × 73.5 cm
  • Seated Woman with Bare Chest (Paris, Renand Collection), c. 1835, oil on panel, 24 × 18.5 cm
  • Hagar in the desert (Paris, Renand Collection), 1835, oil on canvas, 41 × 32 cm
  • View of Villeneuve-Lés-Avignon (Reims, Musée des Beaux Arts), 1836, oil on canvas, 38.3 × 56 cm
  • Avignon from the West (London, National Gallery ), 1836, oil on canvas, 34 × 73.2 cm
  • Portrait of Madame Charmois (Paris, Musée du Louvre), 1837, oil on canvas, 43 × 35 cm
  • Château de Rosny (Paris, Musée du Louvre), 1840, oil on canvas, 24 × 35 cm
  • Madame Legois (Vienna, Austrian Gallery , inv. No. 2413), around 1840–45, oil on canvas, 55 × 40 cm
  • Breton women at the fountain (Paris, Musée du Louvre), 1842, oil on canvas, 33 × 25 cm
  • St-André-en-Morvan (Paris, Musée du Louvre), 1842, oil on canvas, 31 × 59 cm
  • Der Nemisee (Vienna, Austrian Gallery , Inv. No. 3149), 1843, oil on canvas
  • Marietta - The Roman Odalisque (Paris, Musée du Petit Palais), 1843, oil on paper, 29.3 × 44.2 cm
  • Portrait of Louis Robert as a child (Paris, Musée du Louvre), 1843–44, oil on canvas, 27 × 22 cm
  • Reading girl in a red jersey (Zurich, Bührle Collection ), 1845–50, oil on canvas
  • Une Matinée (Paris, Musée du Louvre), 1850
  • Dance of the Nymphs (Paris, Musée du Louvre), around 1850, oil on canvas
  • La Rochelle, Port Entrance (Paris, Renand Collection), 1851, oil on panel, 27 × 40 cm
  • Hay wagon (Moscow, Pushkin Museum), 2nd third of the 19th century, oil on canvas, 32 × 45 cm
  • Stormy weather - banks of the Pas-de-Calais (Moscow, Pushkin Museum ), 2nd third of the 19th century, oil on canvas, 39 × 55 cm
  • Forest entrance at Ville d'Avray (Edinburgh, Scottish National Gallery ), 2nd third of the 19th century, oil on canvas, 46 × 35 cm
  • Portrait of the Superior of the Annunciaten Convent in Boulogne-sur-Mer (Paris, Musée du Louvre ), 1852, oil on panel, 36 × 23 cm
  • Ruelle d'un village ( Dardagny ) (New York, Metropolitan Museum of Art ), 1853
  • Road to Sévres (Paris, Musée du Louvre), 1855–65, oil on canvas, 34 × 49 cm
  • Macbeth (London, Wallace Collection ), 1859
  • Girl in the Green (Geneva, Musée d'art et d'histoire ), 1859, oil on canvas, 49 × 75 cm
  • Nantes Cathedral (Reims, Musée des Beaux Arts), around 1860, oil on canvas, 42.7 × 55.8 cm
  • Nantes Cathedral (Reims, Musée des Beaux Arts), after 1860, oil on panel, 52.1 × 32.6 cm
  • Memory of Pierrefonds (Moscow, Pushkin Museum ), 1860–61, oil on canvas, 46 × 38 cm
  • Le Lac (Glasgow, Corporation Art Gallery), 1861
  • Orpheus guided Eurydice from the underworld (Houston, Museum of Fine Arts ), 1861, oil on canvas, 112.3 × 137.1 cm
  • Memory of Mortefontaine (Paris, Musée du Louvre), 1864, oil on canvas, 65 × 89 cm
  • L'Arbre brisé (Glasgow, Corporation Art Gallery), 1865
  • The artist's studio (Paris, Musée du Louvre ), 1865–66, oil on canvas, 56 × 46 cm
  • The Letter (New York, Metropolitan Museum of Art ), around 1865, oil on panel, 54.6 × 36.2 cm
  • La Zingara (Paris, Musée du Louvre), 1865–70, oil on canvas, 54 × 38 cm
  • Resting under willows by the water (Paris, Musée du Louvre), 1865–70, oil on canvas, 45 × 60.5 cm
  • Jeune femme aux puits , previously Otterlo , Kröller-Müller Museum , 1865–1870
  • Agostina, the Italian (Washington, National Gallery of Art ), 1866, oil on canvas, 138.6 × 95 cm
  • Memory of Marissel (Paris, Musée du Louvre), 1866, oil on canvas, 55 × 42 cm
  • Woman with daisies (Budapest, Szépművészeti Múzeum), 1868–70, oil on canvas, 78 × 58 cm
  • The Woman with the Pearl (Paris, Louvre), 1868–70
  • Woman Reading (New York, Metropolitan Museum of Art), 1869–70, oil on canvas, 54.3 × 37.5 cm
  • Landscape near Castelgandolfo (Paris, Musée du Louvre), around 1870, oil on canvas
  • Bell tower of Douai (Paris, Musée du Louvre), 1871, oil on canvas, 46.5 × 38.5 cm
  • Memory of Coubron (Budapest, Szépművészeti Múzeum), 1872, oil on canvas, 46 × 55.3 cm
  • Pastorale - Souvenir d'Italie (Glasgow, Corporation Art Gallery), 1873
  • Street in Sin-Le-Noble (Paris, Musée du Louvre), 1873, oil on canvas, 60 × 81 cm
  • Pool of Ville-d'Avray (Rouen, Musée des Beaux Arts), 1873, oil on canvas, 43 × 80 cm
  • Woman in Blue (Paris, Musée du Louvre), 1874, oil on canvas, 80 × 51 cm
  • Inside the Sens Cathedral (Paris, Musée du Louvre), around 1874, oil on canvas, 61 × 40 cm
  • Homer and the Shepherds (Museum in Saint-Lo), 1845

Exhibitions

Honors

The asteroid (6672) Corot bears his name.

Individual evidence

  1. ↑ a b c Diederik Bakhuÿs, et al .: A City for Impressionism - Monet, Pissarro, and Gauguin in Rouen (catalog) . Ed .: Laurent Salomé. 1st edition. Musée des Beaux-Arts de Rouen / Skira Flammarion, Rouen / Paris 2010, ISBN 978-2-08-124399-6 , p. 192 .
  2. ↑ cf. Tinterow, Gary et al. a. (Ed.): Corot. New York 1996, pp. 270ff.
  3. ↑ a b Laurie Hurwitz: If It Doesn't Dance, It's Not Corot , ArtNews, June 27, 2012, accessed December 14, 2012
  4. ↑ Counterfeit scandal Everything is really nice - but unfortunately not real FAZ from September 16, 2012
  5. ↑ Der Spiegel 44/1966

literature

  • Camille Corot: nature and dream. Karlsruhe 2012.
  • Camille Corot: Letters from Italy . Klinkhardt & Biermann, Leipzig 1924.
  • Dario Durbé and a .: Corot and the Barbizon School . Pawlak, Herrsching 1988, ISBN 3-88199-430-0 -
  • Peter Galassi: Corot in Italy. Open air painting and classical landscape tradition . Hirmer, Munich 1991, ISBN 3-7774-5490-7 .
  • Jean Leymarie : Corot. Biographical-critical study . Skira-Klett-Cotta, Geneva 1980, ISBN 3-88447-049-3 .
  • Vincent Pomarède: Corot . Flammarion, Paris 1996, ISBN 2-08-012123-5 .
  • Mariantonia Reinhard-Felice (Ed.): Corot. L'Armoire Secrète. A reader in context . Hirmer, Munich 2011, ISBN 978-3-7774-3421-6 (exhibition catalog)
  • Alfred Robaut. L'Œuvre de Corot, catalog raisonné et illustré précédé de l'Histoire de Corot et de ses œuvres par Étienne Moreau-Nélaton , 4 vol. And register vol., Floury, Paris 1905.
  • Leonhard Saint-Michel: Corot and his world . Gondrom, Bayreuth 1981. ISBN 3-8112-0216-2 .
  • Yvon Taillandier: Corot . Flammarion, Paris 1990, ISBN 2-08-011554-5 .
  • Germain Bazin: Corot . Wolfgang Krüger Verlag, Berlin, printing: Pierersche Hofbuchdruckerei Stephan Geibel & Co., Altenburg / Thür. 1942

Web links

Commons : Jean-Baptiste-Camille Corot  - Album with pictures, videos and audio files
personal data
SURNAME Corot, Jean-Baptiste Camille
BRIEF DESCRIPTION French landscape painter
DATE OF BIRTH July 16, 1796
PLACE OF BIRTH Paris
DATE OF DEATH February 22, 1875
Place of death Paris