Of Camille Corot Claude Monet exclaimed: "There is only one master here - Corot. We are nothing compared to him, nothing". His contributions to figure painting are hardly less important; Degas preferred his figures to his landscapes, and the classical figures of Picasso pay overt homage to Corot's influence.
Camille Corot, in full Jean-Baptiste-Camille Corot (born July 16, 1796, Paris, France - died February 22, 1875, Paris), French painter, noted primarily for his landscapes, who inspired and to some extent anticipated the landscape painting of the Impressionists. His oil sketches, remarkable for their technical freedom and clear colour, have come to be as highly regarded as the finished pictures that were based upon them.
Early life and career
Corot was born of prosperous bourgeois parents. His mother, who was Swiss-born, had a fashionable milliner’s shop, which Corot’s father - a draper by trade - helped manage. Camille was a poor scholar and even less adept when he tried to follow his father’s trade. Finally, at age 25, he was given a small allowance by his father and allowed to become what he had always dreamed of being: a painter.
Like every young French artist, Corot spent much time studying the paintings in the Louvre, and he had some private instruction from Achille-Etna Michallon and Jean-Victor Bertin, both followers of the Neoclassical landscape painter Pierre-Henri de Valenciennes. From the beginning, however, Corot preferred to sit outdoors, rather than in studios, sketching what he saw and learning by firsthand experience.
In the autumn of 1825 Corot went to Rome, and the three years that he spent there were the most influential of his life. He painted the city and the Campagna, the countryside around Rome; he made a trip to Naples and Ischia; and he returned to Paris by way of Venice. He was very happy. He told a friend in August 1826: “All I really want to do in life…is to paint landscapes. This firm resolve will stop me forming any serious attachments. That is to say, I shall not get married”. He was as good as his word and never married. Romantic companionship played no part in his life, which was entirely devoted to painting.
Back in France, Corot settled into a routine to which he kept for the whole of his life. He always spent the spring and summer months painting outside, making small oil sketches and drawings from nature. He acquired a mastery of tonal relationships that formed the basis of his art, for the balance and gradation of light and dark tones was always more important to him than the choice of colour. In the winter Corot would retire to his Paris studio to work on some much larger pictures, which he liked to have ready for exhibition at the annual Salon when it opened in May.
His first important work, The Bridge at Narni, was shown at the Paris Salon in 1827, when he was still in Italy. In 1833 he exhibited a large landscape of the forest of Fontainebleau, which was awarded a second-class medal: this gave Corot the right to show his pictures without submission to the jury for their approval.
From May to October of 1834 Corot made his second visit to Italy. He painted views of Volterra, Florence, Pisa, Genoa, Venice, and the Italian lake district. He collected enough material in small sketches to last him the rest of his life, although he returned to Italy briefly in the summer of 1843, for the last time.
When he grew older, Corot moved around less. In 1836, however, he made important trips to Avignon and the south of France; he went to Switzerland in 1842 and on several other occasions, to the Netherlands in 1854, and to London in 1862. His favourite regions of France were the forest of Fontainebleau, Brittany, the Normandy coast, his family property at Ville-d’Avray near Paris, and, later in life, Arras and Douai - in the north of France - where close friends lived.
Throughout his life Corot liked occasionally to paint straightforward topographical landscapes, depicting buildings such as the cathedral at Chartres (1830) or the belfry at Douai (1871) exactly as they appeared to him. But the basic division in his work was between the sketch made from nature - small, direct, spontaneous - and the large, finished picture done for the Salon. In the early 19th century the sketch was thought to be unsuitable for public exhibition, and there were only a few connoisseur collectors who would buy such pictures. The finished landscapes were preferred. These were considered even more dignified if they included a few small figures who could be identified with the heroic characters of legend, literature, or the Bible. Thus, Corot exhibited pictures with such titles as Hagar in the Wilderness (Salon of 1835), Diana Surprised by Actaeon (Salon of 1836), Homer and the Shepherds (Salon of 1845), and Christ in the Garden of Olives (Salon of 1849).
As landscape was his major interest, Corot used figures in his work in an incidental manner, much as they were used in the work of the 17th-century painter Claude Lorrain. In the 1860s Corot invented a new kind of landscape, the Souvenirs, in which he made compositions out of standardized elements - usually a lake with diaphanous trees painted in an overall silvery tonality - to evoke a mood of gentle melancholy. At the end of his life, he also painted a number of portraits and figure studies, especially of young women posed in his studio holding a flower or a musical instrument or looking at a landscape on the easel. These more private pictures Corot almost never exhibited.
During the 1830s Corot showed regularly at the Paris Salon and had some critical success. Yet he sold very few pictures and was glad of his father’s allowance. Then, in 1840, the state purchased one of his works, The Little Shepherd, and, five years later, the poet and art critic Charles Baudelaire could write in his review of the 1845 Salon that “Corot stands at the head of the modern school of landscape”. In 1846 he was made a member of the Legion of Honour, and, when his father died, in 1847, Corot was able to feel that he had justified the family’s support of his ambition to be a painter.
Years of success
By the 1850s collectors and dealers were eagerly seeking his pictures, and Corot henceforth had no material worries. He went on sending big pictures to the Salons, where they fetched high prices. At the 1855 Paris Universal Exposition he was awarded a first-class medal for painting, and Emperor Napoleon III bought a picture from him. In 1867 he was promoted to being an officer of the Legion of Honour. Although he was a prolific artist and painted more than 3,000 pictures, demand outran supply, and Corot was much imitated and faked. During his lifetime, Corot achieved popularity largely through his later, self-consciously poetic landscapes, which were characterized by sensitive tonal effects and a delicate range of silvery colours. The portraits and figure studies of the last 20 years of Corot’s life, such as The Studio (several versions, c. 1865) and The Pearl (1868-70), bear witness to Corot’s innate classicism and his absolute mastery of tonal painting. In the 20th century, appreciation of Corot shifted to show a marked preference for the earlier, more naturalistic sketches over these later ones.
Success made little difference to Corot, who was a man of extremely conservative habits. He always worked very hard because he loved his art, but this left him little time for other things. He liked to talk about the harmonies of his painting, and his late work in particular -both portraiture and landscape- aspires to the qualities of music. He kept the modern world firmly out of his pictures: there is never a sign of the vast railway network that covered France in his lifetime or of the industrial and commercial development that transformed the country.
Corot enjoyed the company of fellow painters and was a close friend of the Barbizon group of artists, especially Jean-François Millet, Théodore Rousseau and Charles-François Daubigny. He used his money to give unostentatious help to less successful friends, such as the caricaturist Honoré Daumier. Without going out of his way to support them in public, Corot was sympathetic to younger painters. He gave lessons to the later Impressionists Camille Pissarro and Berthe Morisot and had many pupils and disciples. “Papa Corot” was universally loved for his unfailing kindness and generosity during his last years.
Corot’s place in the history of 19th-century painting is an assured one. When he started painting, the landscape sketch was regarded primarily as raw material for more considered work and was of no great artistic consequence in itself. Corot was one of the first to show that the sketch had qualities of vitality and spontaneity, a basic truth to nature that a more finished picture lacked. At the time of his death the sketch had triumphed, and any artificiality or contrivance in landscape painting was regarded with suspicion. Corot had helped to prepare the way for the Impressionist landscape painters, who learned much from him and looked upon him with respect and veneration. | Sir Alan Bowness © Encyclopædia Britannica, Inc.
Corot, Jean-Baptiste-Camille - Pittore, nato a Parigi ll 16 luglio 1796, morto ivi il 22 febbraio 1875. Nei suoi primi studî, consistenti in vedute di Parigi e di Saint-Cloud (collezione David-Weill nel Musée Carnavalet, Parigi) e dipinti verso il 1822, risentì l'influsso di Bonington; conobbe anche il Michallon (1796-1822), che gli diede utili consigli. Nel 1825 il C. partì per l'Italia e vi passò tre anni, principalmente a Roma; a quest'epoca risalgono i suoi studi più celebri, come la Veduta del Foro e il Colosseo visto dall'alto del Palatino (1826), da lui lasciati al Louvre, e parecchi altri non meno preziosi (Basilica di Costantino, Veduta del ponte di Narni, ecc.), pure al Louvre. Essi si distinguono per un'accuratezza e una freschezza proprie d'un "primitivo", per la sobrietà del disegno e della composizione, e, soprattutto, per una vibrazione d'atmosfera e di tonalità che in questi ritratti della realtà inserisce un elemento d'emozione e di poesia. A questo soggiorno a Roma, egli dovette quella comprensione sottile della beltà antica che conservò per tutta la vita, e quel genere d'immaginazione che lo ravvicina al Poussin e a Claudio Lorenese e che gli dà un posto a sé nel movimento romantico. Egli fu il più personale e nello stesso tempo il più classico dei suoi contemporanei per aver saputo trarre dalla natura e dai magnifici orizzonti romani una speciale nozione del grandioso e del ritmo, una certa musica di forme, una struttura del quadro, insomma un complesso di formule di composizione, che nell'insegnamento delle scuole si erano disseccate e che egli ritrovava per istinto.
Corot ritornò in Italia nel 1834 e a Roma nel 1843. Da questo viaggio datano parecchi suoi studi famosi, come la Terrazza della villa d'Este, della collezione Rouart. E molti quadri della sua maturità sono "ricordi" dell'Italia: Ricordo d'Albano, Ricordo delle Isole Borromee. I primi lavori che il C. espose al Salon (la grande veduta del ponte di Narni, 1827) furono abbastanza bene accolti, quantunque in queste opere, eseguite nello studio alla stregua del paesaggio accademico, il pittore non riesca sempre a ritrovare la spontaneità e la freschezza dei suoi studî. Seguirono Agar nel deserto (1835), S. Girolamo (1836; nella chiesa di Ville d'Avray), la Fuga in Egitto (1840; chiesa di Rosny presso Mantes), Democrito (1841, museo di Nantes), il Battesimo di Gesù (1847; chiesa di Saint-Nicolas-du-Chardonnet a Parigi) e il patetico "notturno" del Monte degli Olivi (1849, museo di Langres). Con questi dipinti l'artista raggiunge l'apice nel genere della pittura classicheggiante. Ma frattanto ecco che egli, giunto quasi a 60 anni, sprigiona e fa sorgere improvvisamente un contenuto emotivo, una musica da tempo latente nelle sue opere. Questa trasformazione apparisce nella Danza delle ninfe (1851, Louvre), che è la prima delle sue opere veramente popolari, e nel Concerto di Chantilly (1855). Oramai v'è un non so che di più ondeggiante e di più vaporoso attorno alle cose, una prevalenza delle forme vegetali, degli stagni, dei prati, degli elementi naturali vaghi e pieni di fremiti della natura; un'atmosfera un po' magica, ombre verginali, cori, figurine pensose e isolate sembrano rappresentare l'essenza stessa delle cose, i sentimenti dell'artista e il suo stato d'animo.
Questa nuova pittura ebbe un successo immenso E invero alcuni di questi quadri sono bellissimi, come il Bagno di Diana (1855, Museo di Bordeaux), Dante e Virgilio (1859), la Toilette (1858; coll. Desfossés), o il gran Baccanale del museo di Glasgow. Peraltro, la parte solida dell'opera di C. consiste sempre negli studî che egli non cessò mai di fare dal vero. Tutti gli anni nella buona stagione soleva viaggiare per esplorare una dopo l'altra tutte le provincie francesi, dapprima quelle del Mezzogiorno (tra 1830-1850), con escursioni anche nella Svizzera e in Olanda; nella seconda parte della sua vita si volse piuttosto verso il Settentrione della Francia. Il motivo in apparenza più semplice e più umile gli bastava per produrre miracoli di nobiltà e di poesia; il Castello di Beaume-la-Rolande e la chiesa di Marissel (1867; collezione Moreau-Nélaton, al Louvre), la Strada di Sin-le-Noble e i capolavori, Campanile di Douai, Cattedrale di Sens (1873 e 1874; Louvre), sono il testamento del vecchio artista, che s'innalzò a sempre maggiore perfezione e semplicità senza perdere mai nulla della sua ingenuità e morbidezza. Insieme coi paesaggi il C. si dilettò sempre a dipingere figure. Queste figure indossanti un'armatura o ravvolte in una cocolla, ma più spesso in qualche veste logora d'orientale o di contadina italiana, non furono per il C. che passatempi, e non bisogna cercarvi né pensiero, né dramma e nemmeno un titolo: in tutta la sua pittura non v'è nulla di meno letterario, ma anche nulla che tanto si avvicini alla pratica dei grandi maestri, d'un Vermeer e talvolta perfino d'un Giorgione. Molti di questi lavori si conservano ancora in collezioni private (Jamot, Dr. Viau, A. Henraux, P. Rosemberg), ma parecchi sono ormai al Louvre: basterà citare l'Uomo dall'armatura, la Monaca, la Perla (1870), l'Abito azzurro (1873), il Laboratorio. Ciò che il Chardin era stato cent'anni prima, e anche più, fu il C. nel secolo scorso. Dal 1860 i giovani tutti lo acclamavano maestro: da lui dipendono Jongkind, Eugène Boudin, Lépine; a lui si ricollegano i primi passi di Monet, di Cézanne, di Berthe Morisot; i Campi di corse di Degas e i suoi verdi così fini non sarebbero stati possibili senza l'esempio del C., che insegnò di nuovo ai pittori quanto valga l'intimità, e ricordò loro che il motivo più modesto, penetrato dal sentimento, può trasformarsi in bellezza. "La natura dà il tema: il sentimento completa". Qui è il punto di partenza dell'Impressionismo, e con lo studio dell'ambiente aereo e dei "valori" il C. dava un linguaggio a quest'arte nuova della fine del sec. XIX. (V. tavv. LXXXV e LXXXVI). | di Louis Gillet ©Treccani, Enciclopedia Italiana.