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Jean Baptiste Corot Etchings

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Other Etchings

Joan Miró Etching, Galatea, 1976
Joan Miró Etching for sale
Galatea, 1976
Price on Request ID # w-7734
Joan Miró Etching, L'Invitée du Dimanche I (Sunday Guest I), 1969
Joan Miró Etching
L'Invitée du Dimanche I (Sunday Guest I), 1969
Sold ID # w-8061
Frank Stella Etching, Bene come il sale (As Good as the Salt), 1989
Frank Stella Etching
Bene come il sale (As Good as the Salt), 1989
Price on Request ID # w-6777
Frank Stella Etching, Bene come il sale, State I, from the Italian Folktales Series, 1989
Frank Stella Etching
Bene come il sale, State I, from the Italian Folktales Series, 1989
Price on Request ID # W-7085
Joan Miró Etching, Le Vieil Irlandais (The Old Irish), 1969
Joan Miró Etching
Le Vieil Irlandais (The Old Irish), 1969
Price on Request ID # w-4145
Christopher Brown Etching, Station, 1993
Christopher Brown Etching
Station, 1993
Price on Request ID # w-8195
Richard Serra Etching, Oteiza, 2003
Richard Serra Etching
Oteiza, 2003
Price on Request ID # w-8435
Wayne Thiebaud Etching, Park Place, 1995
Wayne Thiebaud Etching
Park Place, 1995
Price on Request ID # w-8062
Joan Miró Etching, Barcelona 1972-1973 XIII, 1973
Joan Miró Etching
Barcelona 1972-1973 XIII, 1973
$50,000 $42,000 ID # w-7598
Joan Miró Etching, Equinoxe, 1967
Joan Miró Etching
Equinoxe, 1967
Price on Request ID # w-7668
Joan Miró Etching, Le Rebelle (The Rebel), 1967
Joan Miró Etching for sale
Le Rebelle (The Rebel), 1967
Price on Request ID # w-8337
Joan Miró Etching, La Harpie (The Harpy), 1969
Joan Miró Etching
La Harpie (The Harpy), 1969
Price on Request ID # w-7907

Buy Original Jean Baptiste Corot Signed and Numbered Artwork For Sale

French painter and leader of the Barbizon School, Jean Baptiste Corot depicted bucolic landscapes in his signed paintings and etchings.

Genres: Impressionism Landscape French Rural Life

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Jean Baptiste Corot Biography

Jean Baptiste Corot
Jean-Baptiste-Camille Corot (French, 1796–1875)

After an apprenticeship of five years in a drapery business, Jean Baptiste 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.

Browse Jean Baptiste Corot Catalogue Raisonnés Online.

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