Jean Baptiste Camille Corot
1796–1875 · 17 works
Camille Corot moved between outdoor observation and landscapes composed in the studio. During travels in Italy and France, he made drawings and oil studies that attend closely to buildings, terrain, and light. His later paintings often soften this precision into remembered places, using a restrained range of gray, green, and blue. Figures from everyday life or classical stories inhabit these settings without overwhelming them. Comparing the sharper forms of an early view with a later souvenir reveals how observation could become a starting point for memory and invention.
17 works · 1800–1875
Compare View of Genoa with a landscape titled Souvenir. How clearly can you follow the edges of buildings, trees, and distant hills?
1800–1834 · 3 works
Walk these 3
1840–1850 · 3 works
Walk these 3
1855–1875 · 11 works
Walk these 11
Bathing Nymphs and Child1855–60
Souvenir of Italy1855–60
Landscape (The Large Tree)c. 1865–70
The Pond at the Entrance of the Woodsc. 1860–75
Interrupted Readingc. 1870
Landscape1865/70
Pond at Ville-d'Avraylate 1860s
Souvenir of the Environs of Lake Nemi1865
Wounded Eurydice1868–70
Arleux-Palluel, The Bridge of Trysts1871–72
Willows and Farmhouse at Sainte-Catherine-lès-Arras1871
Charles Émile Jacque
Little Mill at Montmartre, 1842
Charles François Daubigny
The Hamlet of Optevoz, ca. 1852
Jean François Millet
Monsieur Martin, 1840
