Print Page
Email to FriendJean Baptiste Corot, Etching, Campagne Boisée (Wooded Countryside), 1866  |
Place your cursor over the thumbnails below to view the full-size image:
Click each room to better visualize its scale and beauty in different contexts.:
| Artist: | Corot, Jean Baptiste (1796 - 1875) |
|---|---|
| Title: | Campagne Boisée (Wooded Countryside), 1866 |
| Reference: | R.3130 |
| Medium: | Original Etching |
| Image Size: | 5 1/4 in x 4 1/4 in (13.3 cm x 10.8 cm) |
| Sheet Size: | 10 3/4 in x 9 3/4 in (27.3 cm x 24.8 cm) |
| Framed Size: | 24 1/4 in x 23 1/4 in (61.6 cm x 59.1 cm) |
| Signed: | Signed in the plate 'Corot' in the lower left. |
| Edition: | This work is a 2nd State (of 3) impression; with the signature in the plate. |
| Condition: | This piece is in very good condition. |
|
Gallery Price
|
Item# 3273
|
| MFA SALE | 50% Off: $3,000 |
|
With his animated lines and meticulous attention to detail , Corot creates a stunning windswept landscape. Instilled with a sense of poetry and mystery, this beautiful work is remarkable for its strong sense of diagonal left to right motion, as if we can imagine being caught in the landscape with the wind pushing against us. |
|
|
Read more about our pricing |
|
|
Gallery Price: This is a common gallery retail price Read more about our pricing |
|
|
Request Invitation: We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. |
|
| Historical Description: | |
| Created in 1866, this is an example of the 2nd State (of 3) of this image,
with the signature in the plate. The work was published by Achille Faure.
The artist's extensive working of the plate creates an image that is both quieting and energetic. Using varied techniques throughout the image, Corot creates an impressive textural quality which varies from the gnarled trees to the subtle clouds, floating across the sky. As the viewer progresses through the image, passing a small, kneeling figure along the right, one is lulled by the delicately layered landscape. Passing through shadows and concealing brush, the viewer is ultimately confronted by a tiny house in the distance, in front of a luscious, full forest. Of his process Corot once stated, "after my outings I invite Nature to come spend several days with me; that is when my madness begins. Brush in hand, I look for hazelnuts among the trees in my studio; I hear birds singing there, trees trembling in the wind; I see rushing streams and rivers laden with a thousand reflections of sky and earth; the sun sets and rises in my studio."
About the Framing: | |
About Us: Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Do you own a similar Corot to sell? We offer free evaluations.
Biography of Jean Baptiste Corot
Jean Baptiste Corot (1796 - 1875)
After an apprenticeship of five years in a drapery business, Corot studied painting from 1822 to 1825, first under the painter Michallon, then under the Classical landscape painter Victor Bertin, and copying works by Joseph Verner and others, including the 17th century Dutch masters. Convinced that "man can only be an artist when he has recognized in himself a strong passion for nature", he painted, or mostly sketched, outdoors, working in the forest of Fontainebleau, at Dieppe, Le Havre, Rouen and at Ville d' Avray where his father owned a house. His first visit to Rome from 1825 to 1828, which was to become decisive in his artistic development, produced a number of oil-studies painted from nature, views of historical Roman monuments and the scenery surrounding Rome. They are of an unusual freshness, catching the light and atmosphere of different times of the day with delightfully subtle variations in tonal values. The actual paintings based on these studies, for example, the "View of Narni" (Ottawa, National Gallery of Canada, 1826), painted for the 1827 Paris Salon, are in comparison rather formal, in the manner of the New Classicism. On his return from Italy, Corot worked in various parts of France. He also visited Italy again (in 1834 and 1843), and went to Holland (1854) and England (1862). His friendship in the late 1840s with the Barbizon painters Rosseau, Millet, Troyon and Dupre greatly influenced his art. Around this time he changed his style; his romantic-lyrical landscapes ("Paysages in times") interpret nature in her various moods, and in the most delicate dull silver tones. His landscapes had an inspiring influence on the Impressionists, who wished to include him in their first Exhibition.
After an apprenticeship of five years in a drapery business, Corot studied painting from 1822 to 1825, first under the painter Michallon, then under the Classical landscape painter Victor Bertin, and copying works by Joseph Verner and others, including the 17th century Dutch masters. Convinced that "man can only be an artist when he has recognized in himself a strong passion for nature", he painted, or mostly sketched, outdoors, working in the forest of Fontainebleau, at Dieppe, Le Havre, Rouen and at Ville d' Avray where his father owned a house. His first visit to Rome from 1825 to 1828, which was to become decisive in his artistic development, produced a number of oil-studies painted from nature, views of historical Roman monuments and the scenery surrounding Rome. They are of an unusual freshness, catching the light and atmosphere of different times of the day with delightfully subtle variations in tonal values. The actual paintings based on these studies, for example, the "View of Narni" (Ottawa, National Gallery of Canada, 1826), painted for the 1827 Paris Salon, are in comparison rather formal, in the manner of the New Classicism.
On his return from Italy, Corot worked in various parts of France. He also visited Italy again (in 1834 and 1843), and went to Holland (1854) and England (1862). His friendship in the late 1840s with the Barbizon painters Rosseau, Millet, Troyon and Dupre greatly influenced his art. Around this time he changed his style; his romantic-lyrical landscapes ("Paysages in times") interpret nature in her various moods, and in the most delicate dull silver tones. His landscapes had an inspiring influence on the Impressionists, who wished to include him in their first Exhibition.
