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The Colosseum Seen from the Farnese Gardens (mk05)
new6/Jean Baptiste Camille Corot-267339.jpg
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The_Colosseum_Seen_from_the_Farnese_Gardens_(mk05)
1826
Paper on canvas 12 x 19 1/4''(30 x 49 cm)Salon of 1849;bequeathed by the artist,1875 R.F 154(G/AR)
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Ischia,View from the Slopes of Mount Epomeo (mk05)
new6/Jean Baptiste Camille Corot-966286.jpg
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Ischia,View_from_the_Slopes_of_Mount_Epomeo_(mk05)
Canvas 10 1/4 x 15 1/2''(26 x 40 cm)Given by E.Moreau-Nelaton in memory of his son ,1919 R.F 2231(MN)
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The Bridge at Narni A study (mk05)
new6/Jean Baptiste Camille Corot-297632.jpg
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The_Bridge_at_Narni_A_study_(mk05)
Paper on canvas 13 1/2 x 19''(34 x 48 cm)A study done in 1826 for a painting exhibited in the Salon of 1827(which is now in the National Gallery of Canada,Ottawa)Given in 1906 R.F 1613 (S/AR)
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The Church of Trinita dei Monti Seen from the Villa Medici (mk05)
new6/Jean Baptiste Camille Corot-637889.jpg
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The_Church_of_Trinita_dei_Monti_Seen_from_the_Villa_Medici_(mk05)
Canvas 17 1/2 x 29 1/4''(45 x 74 cm)Acquired in 1912 R.F 2041 (G /AR)
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Florence View from the Boboli Gardens (mk05)
new6/Jean Baptiste Camille Corot-992697.jpg
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Florence_View_from_the_Boboli_Gardens_(mk05)
Canvas 20 x 29 1/4''(51 x 74 cm)Given in 1926 R.F 2598(S/AR)
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Jean_Baptiste_Camille__Corot
1796-1875
Corot Locations
French painter, draughtsman and printmaker.
After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.
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