Antique oil painting old master Corot Jean Baptiste Camille

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Jean-Baptiste-Camille Corot
French Barbizon School painter & draftsman
born 26 July 1796 - died 22 February 1875

Also known as: Camille-Jean-Baptiste Corot, Kamill Koro, Kamill Korot, Pére Corot.
Student of: Jean Victor Bertin (1775-1842), Achille Etna Michallon (1796-1822).
Teacher of: Adolphe Appian (1818-1898), Eugene Boudin (1824-1898), Antoine Chintreuil (1814-1873), Pascal-Adolphe-Jean Dagnan-Bouveret (1852-1929), Ernest-Joachim Dumax (1811-after 1882), Louis Français (1814-1897), Stanislas Lepine (1835-1892), Berthe Morisot (1841-1895), Camille Pissarro (1830-1903), Alfred Sisley (1839-1899).
Friend of: Henri Fantin-Latour (1836-1904).

COROT, JEAN-BAPTISTE CAMILLE (1796—1875), French landscape painter, was born in Paris, in a house on the Quai by the rue du Bac, now demolished, on the 26th of July 1796. Jean-Baptiste-Camille Corot’s family were well-to-do bourgeois people, and whatever may have been the experience of some of Jean-Baptiste-Camille Corot’s artistic colleagues, Jean Baptiste Camille Corot never, throughout Jean-Baptiste-Camille Corot’s life, felt the want of money. Jean Baptiste Camille Corot was educated at Rouen and was afterwards apprenticed to a draper, but hated commercial life and despised what Jean Baptiste Camille Corot called its “business tricks,” yet Jean Baptiste Camille Corot faithfully remained in it until Jean Baptiste Camille Corot was twenty-six, when Jean-Baptiste-Camille Corot’s father at last consented to Jean-Baptiste-Camille Corot’s adopting the profession of art. Corot learned little from Jean-Baptiste-Camille Corot’s masters. Jean Baptiste Camille Corot visited Italy on three occasions: two of Jean-Baptiste-Camille Corot’s Roman studies are now in the Louvre. Jean Baptiste Camille Corot was a regular contributor to the Salon during Jean-Baptiste-Camille Corot’s lifetime, and in 1846 was decorated with the cross of the Legion of Honour. Jean Baptiste Camille Corot was promoted to be officer in 1867. Jean-Baptiste-Camille Corot’s many friends considered nevertheless that Jean Baptiste Camille Corot was officially neglected, and in 1874, only a short time before Jean-Baptiste-Camille Corot’s death, they presented him with a gold medal. Jean Baptiste Camille Corot died in Paris, on the 22nd of February 1875, and was buried at Père Lachaise.

Of the painters classed in the Barbizon school it is probable that Corot will live the longest, and will continue to occupy the highest position. Jean-Baptiste-Camille Corot’s art is more individual than Rousseau’s, whose works are more strictly traditional; more poetic than that of Daubigny, who is, however, Corot’s greatest contemporary rival; and in every sense more beautiful than J. F. Millet, who thought more of stern truth than of aesthetic feeling.

Corot’s works are somewhat arbitrarily divided into periods, but the point of division is never certain, as Jean Baptiste Camille Corot often completed a picture years after it had been begun. In Jean-Baptiste-Camille Corot’s first style Jean Baptiste Camille Corot painted traditionally and “tight” — that is to say, with minute exactness, clear outlines, and with absolute definition of objects throughout. After Jean-Baptiste-Camille Corot’s fiftieth year Jean-Baptiste-Camille Corot’s methods changed to breadth of tone and an approach to poetic power, and about twenty years later, say from 1865 onwards, Jean-Baptiste-Camille Corot’s manner of painting became full of “mystery” and poetry. In the last ten years of Jean-Baptiste-Camille Corot’s work Jean Baptiste Camille Corot became the Père Corot of the artistic circles of Paris, in which Jean Baptiste Camille Corot was regarded with personal affection, and Jean Baptiste Camille Corot was acknowledged as one of the five or six greatest landscape painters the world has ever seen, along with Hobbema, Claude, Turner and Constable.

During the last few years of Jean-Baptiste-Camille Corot’s life Jean Baptiste Camille Corot earned large sums by Jean-Baptiste-Camille Corot’s pictures, which became greatly sought after. In 1871 Jean Baptiste Camille Corot gave £2000 for the poor of Paris (where Jean Baptiste Camille Corot remained during the siege), and Jean-Baptiste-Camille Corot’s continued charity was long the subject of remark. Besides landscapes, of which Jean Baptiste Camille Corot painted several hundred, Corot produced a number of figure pictures which are much prized. These were mostly studio pieces, executed probably with a view to keep Jean-Baptiste-Camille Corot’s hand in with severe drawing, rather than with the intention of producing pictures. Yet many of them are fine in composition, and in all cases the colour is remarkable for its strength and purity. Corot also executed a few etchings and pencil sketches. In Jean-Baptiste-Camille Corot’s landscape pictures Corot was more traditional in Jean-Baptiste-Camille Corot’s method of work than is usually believed. If even Jean-Baptiste-Camille Corot’s latest tree-painting and arrangement are compared with such a Claude as that which hangs in the Bridgewater gallery, it will be observed how similar is Corot’s method and also how masterly are Jean-Baptiste-Camille Corot’s results.

The works of Corot are scattered over France and the Netherlands, Great Britain and America. The following may be considered as the first half-dozen: Une Matinée (1850), now in the Louvre; Macbeth (1859), in the Wallace collection; Le Lac (1861); L’Arbre brisé (1865); Pastorale—Souvenir d’Italie (1873), in the Glasgow Corporation Art Gallery; Biblis (1875). Corot had a number of followers who called themselves Jean-Baptiste-Camille Corot’s pupils. The best known are Boudin, Lepine, Chintreuil, Français and Le Roux.

AUTHORITIES. — H. Dumesnil, Souvenirs intimes (Paris, 1875); Roger-Miles, Les Artistes célèbres: Corot (Paris, 1891); Roger-Miles, Album classique des chefs-d’wuvres de Corot (Paris, 1895); J. Rousseau, Bibliothèque d’art moderne: Camille Corot (Paris, 1884); J. Claretie, Peintres et sculpteurs contemporains: Corot (Paris, 1884); Ch. Bigot, Peintres francais contemporains: Corot (Paris, 1888); Geo. Moore, Ingres and Corot in Modern Painting (London, 1893); David Croal Thomson, Corot (4to, London, 1892); Mrs Schuyler van Rensselaer, “Corot,” Century Magazine (June 1889); Corot, The Portfolio (1870), p. 60, (1875) p. 146; R. A. M. Stevenson, “Corot as an Example of Style in Painting,” Scottish Art Review (Aug. 1888); Ethel Birnstigl and Alice Pollard, Corot (London, 1904); Alfred Robaut, L'Oeuvre de Corot, catalogue raisonné et illustré, pricédi de l’histoire de Corot et de ses isuvres par Etienne Morceau-Nilaton (Paris, 1905). (D. C. T.)

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