| Jean-Baptiste-Camille Corot, one of the most | | | | touch ups in the studio, for all his works. Corot, |
| admired French landscape painters and | | | | was unique not due to his painting technique but |
| printmakers, was born into an affluent bourgeois | | | | because of a thematic rebelliousness that |
| family in Rue du Bac, Paris on July 17, 1796. | | | | bordered on hearsay. This considering the fact |
| Camille's father was a wig maker and mother, a | | | | that he was a devout Christian, was in itself a |
| milliner. Unlike most artists who show precocious | | | | tribute to the artist in him. |
| sign of artistry, the follower of the 'Barbizon | | | | By 1827, the artist started featuring regularly at |
| School of France,' Corot realized his true calling | | | | the Salon, beginning with "View at Narni (1827)." |
| only by 1815, when he began drawing classes at | | | | With "Agar dans le desert (Hagar in the |
| Atelier Suisse. After the Corots shifted to a new | | | | Wilderness)" in 1835 at the Salon, Corot |
| house in 1817, Jean took a room on the third floor | | | | impressed his critics. "Venise, La Piazetta (1835)," |
| that also later became his first studio. Ever well | | | | "Macbeth and the Witches (1859)," "Wallace |
| off, the artist was educated at Rouen and was | | | | Collection," "L'Arbre brisé (1865)," "Ville |
| apprenticed as a draper. | | | | d'Avray (1867)," "Femme Lisant (1869)," "Biblis |
| Though, Camille Corot did not like commerce, yet | | | | (1875)," "Souvenir de Mortefontaine (1864)" at |
| he pursued the trade for six years. Despite the | | | | Louvre, "Meadow by the Swamp" at the National |
| aversion with the line, the painter gathered the | | | | Museum of Serbia, and "Pastorale - Souvenir |
| aesthetics of the elements (especially colors) of | | | | d'Italie (1873)" at the Glasgow Art Gallery, are a |
| art, during these business years. At twenty-six | | | | few of his much celebrated masterpieces. Apart |
| however, he finally decided to build a career in | | | | from landscapes, Camille created several |
| arts. Achille-Etna Michallon, a landscape painter, | | | | competent portraits as well. |
| under whom Corot sought training for a year | | | | By 1865, Corot advanced to a distinct style of |
| (1821-1822), was a great influence on his paintings. | | | | painting, characterized by the precision of the |
| Along with the different art forms, Michallon | | | | sketched structure on a background filled with |
| introduced Corot to the concept of 'French | | | | natural light, highlighting the romantic ambience |
| Neo-Classicism.' After Michallon, Corot joined the | | | | brought by the soft brushstrokes. Corot received |
| tutelage of his teacher, Jean-Victor Bertin. | | | | the cross of the Légion d'Honneur by the |
| In 1825, the artist made the first of his many | | | | French government, in 1846. Elected as jury and |
| trips to Italy and in a span of three years, | | | | awarded a second-class gold medal in 1848 at the |
| accomplished over 200 drawings and 150 paintings. | | | | Salon, the artist was later promoted as an officer |
| He learnt the elements of 'Italian Renaissance' | | | | of the Salon in 1867. Corot breathed his last on |
| painting, such as volumizing, solidity, light & | | | | February 22, 1875, and was buried at |
| shadow, thick & thin highlights, and figuration. | | | | Père Lachaise. Being a kind hearted and |
| Two of his paintings here, "Forum (1826)" and | | | | good-natured man, his list of admirers runs long, |
| "the Bridge of Narni (1827)," are exposited at the | | | | including the likes of Camille Pissarro, |
| Louvre, Paris. Corot's approach towards landscape | | | | Eugène Boudin, Berthe Morisot, Stanislas |
| painting shuffled between 'Neoclassical' and | | | | Lépine, Antoine Chintreuil, |
| 'Northern Realism,' coupled with the technique of | | | | François-Louis Français, Charles Le |
| 'Plein-air' of 'Impressionism.' This was followed by | | | | Roux, and Alexandre DeFaux. |