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Rocks in the Forest of Fontainebleau

Rocks in the Forest of Fontainebleau

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Road by the Water

Road by the Water

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River with a Distant Tower

River with a Distant Tower

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Rêverie sur l'étang

Rêverie sur l'étang

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Pond at Ville-d'Avray

Pond at Ville-d'Avray

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Pollard Willows

Pollard Willows

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Peasants under the Trees at Dawn

Peasants under the Trees at Dawn

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Paysage au cavalier

Paysage au cavalier

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Pastoral Landscape

Pastoral Landscape

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Orpheus Leading Eurydice from the Underworld

Orpheus Leading Eurydice from the Underworld

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Morning on the Estuary, Ville d'Avray

Morning on the Estuary, Ville d'Avray

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May light

May light

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Goat-Girl Sitting Beside a Stream in a Forest

Goat-Girl Sitting Beside a Stream in a Forest

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The Island and Bridge of San Bartolomeo, Rome

The Island and Bridge of San Bartolomeo, Rome

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Le vallon

Le vallon

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L'Étang aux Canards

L'Étang aux Canards

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L'Étang à l'arbre penché

L'Étang à l'arbre penché

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Les remparts d'Arras

Les remparts d'Arras

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Le Petit Chaville

Le Petit Chaville

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Le Passage de la rivière

Le Passage de la rivière

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Le Mont Soracte

Le Mont Soracte

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Le Marais

Le Marais

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La route aux Bûcherons

La route aux Bûcherons

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L'arc de Constantin et le forum

L'arc de Constantin et le forum

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Kunstdrucke von Camille Corot

Collection: Art prints by Camille Corot

Camille Corot was a French painter and is considered one of the most influential figures in European landscape painting in the 19th century. He was born in Paris in 1796 to a wealthy merchant family and began his artistic career comparatively late: it was only at the age of twenty-six, after working in the textile trade for several years, that his parents gave him permission to devote himself entirely to painting. However, this unusually late decision in favor of art did not prevent him from creating one of the most extensive and influential works of 19th century French painting.

In his early works, Corot devoted himself above all to the classical landscape tradition and took his inspiration from the great Italianizing landscape painters of the past, in particular Claude Lorrain and Nicolas Poussin. Three trips to Italy, the first of which in 1825, left deep traces in his work and produced the clear, light-flooded landscape studies that are now among his best-known and most modern achievements. These studies reveal a directness and atmospheric freshness that was far ahead of its time and was only later recognized in its full significance. As he matured, Corot developed an increasingly personal pictorial language that broke away from the classical tradition and followed his own lyrical conception of nature.

A central feature of Corot's mature work became the so-called silver landscape - those dreamlike veiled forest scenes and lakeshores shrouded in a silvery haze, in which delicate birch and poplar trees stand against a soft, diffuse background and nature seems to be in a state between reality and dream. His depictions of the forests of Fontainebleau, the ponds of Normandy and the tranquil river landscapes of Île-de-France are famous. These works demonstrate his masterful ability to emphasize mood and atmosphere over precise documentation of nature and to lend the landscape a poetic, almost musical quality that deeply impressed the public of his time.

In addition to his work as a painter, Corot was an extraordinarily generous and respected figure in French artistic life. He supported younger artists financially and promoted the Barbizon School, whose pursuit of direct observation of nature was close to his own artistic convictions. His influence on the following generation was enormous: the painters of the Barbizon School, the Impressionists and far beyond recognized in him a forerunner and pioneer who had liberated landscape painting from the confines of academic conventions and given it a new, subjective and atmospheric character. Camille Corot died in Paris in 1875. Today, he is considered a key figure in European art history, whose works are represented in the world's most important museums and whose influence on the development of modern landscape painting can hardly be overestimated.