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Jean-Baptiste-Camille CorotCampagne boisée (Wooded countryside)1866
1866
About the Item
1866
Etching on cream wove paper. 5 1/2 x 4 3/8 inches (138 x 110 mm), full margins. Third state (of 4). Light scattered age tone, and time stain. Scattered extremely light areas of minor spots of foxing at extreme sheet edge. Hard crease along lower sheet margin, approximately 1/2 inch from sheet bottom. Inscription in pencil at sheet edge. Light pencil inscriptions on sheet edges, verso. All well outside of image area. Impression is richly inked with all of the fine lines printing clearly.
[Delteil 8iii].
Jean-Baptiste-Camille Corot (1796-1875) is an esteemed name in a very distinguished century for French art. Though best-known as a landscape painter, he was also a prolific and masterful printmaker. Renowned for bridging the Neoclassical tradition with Realism and a plein air approach, Corot struggled to gain acceptance amongst the European artistic establishment. He traveled extensively in Italy and France, finally settling in the Barbizon region, near Fountainbleu. It was here that his landscapes, all painted outdoors, appear to focus on mood and expression. His luminous and atmospheric landscapes are evidence oh his great admiration for the Impressionists. In addition, Wooded countryside is an excellent exemplar of the use of repoussoir elements, typifying the technique utilized by many romantic artists. This can be seen in the arrangement of trees in the foreground to frame a vista, inviting the viewer to contemplate the background, without featuring the foreground.
- Creator:Jean-Baptiste-Camille Corot (1796-1875, French)
- Creation Year:1866
- Dimensions:Height: 5.4 in (13.72 cm)Width: 4.375 in (11.12 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:
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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