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Jean-Baptiste-Camille Corot

Jean-Baptiste-Camille  Corot

(1796 - 1875)
Born: Paris, France
Style: Romanticism
Famous Works:
  • Florence, Seen from the Boboli-Gardens (after 1834)
  • Morning, The Dance of the Nymphs (c. 1850)
  • Ville d'Avray (c. 1867)
Jean-Baptiste Camille Corot is considered one of the greatest nineteenth century French landscape artists. His work bridged the traditions of the Classical landscape painters and the first Impressionists in France. He possessed a strong foundation in traditional art education that is reflected throughout many of his works. This foundation, in combination with his passion and insight, enabled Corot to create successful paintings all throughout his career. He was inspired by generations of painters before him, including Nicolas Poussin and Claude Lorraine. From these masters Corot acquired his sensitivity to light and balance in his compositions. He also inspired artists after him; not only the Impressionists, but also his contemporary Eugène Delacroix, who thought Corot was discovering new methods of painting nature. Corot portrayed an intense light and atmospheric weight in the scenes he chose to illuminate. He painted in the outdoors at his father's country house in Ville-d'Avray outside of Paris, working the paint on his palette to replicate the effects the sun had on the trees, hills, and buildings before him. This obsession with the effects of light, directly observed and translated into opaque pigment, was passed along to his younger contemporaries towards the end of his life. Édouard Manet, Camille Pissarro, and Claude Monet all soaked in the lesson Corot offered on the magic sparkle of sunlight on their beloved French countryside, starting the next revolution in painting and affecting artists in the next generations.
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Latest Product Reviews

I just started using this sketchbook recently, and my first medium was Ink-Tense pencils. The paper worked beautifully, receives the paint, ink, etc, very well. It buckles a little bit when wet, but then flattens out. And so far it lives up to its claim. You CAN use multimedia on both side of the page and it doesn't bleed through. It's a good paper, check it out.
- kevin in wisconsin
Great idea, poor execution. Once a photo has been burnished on to the adhesive, per manufacturer's instructions, lifting the photo off to transfer to mounting board yields often long, gooey, sticky web-like strands of adhesive that have a tendency to wrap around to, and stick to, front of photo. It leaves what is essentially an irreparable mess, even when using utmost care. Also, unless burnishing print to adhesive is done with rather extraordinary force, I've found it difficult to get the adhesive to stick to more than about 90% of the print's back.
- M. Shlafer in Ann Arbor, MI
I love these! I've been using them by the dozen as journals. I write in black fountain pen, and there's no bleed-through of the ink from one side of the page to the other, and the paper has no trouble with any of the adhesives I've used (tape, Zots, glue) to attach photos and such. Covers are a great weight, and the wire binding seems like it's made for the Ages. I can't draw a stick figure, so I haven't actually used the books for their intended purpose (i.e. sketching), but the paper has a great feel, and, if it'll stand up to liquid ink on both sides, it should work like a dream with other media. I actually joined Mr. Art as a VIP because I was buying so many of these. There aren't too many products anywhere of which I'm this fond.
- Mark G. in Pasadena, CA

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