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The bridge of Narnl
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The_bridge_of_Narnl
mk131
1826
It impressed by the contrast extre the ruin of this bridge gypsy temperate the Nera there the vast extension of the virgin landscape there abrupt in known environment.
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The bridge of Narni.
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The_bridge_of_Narni.
mk131
1827
The critica hectares opuesto el boceto of 1826
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The theater from garden it Farnes
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The_theater_from_garden_it_Farnes
mk131
1826
Another of tired views painted that hill from the anus of the palation
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The castle of Sant Angelo and the Tiber
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The_castle_of_Sant_Angelo_and_the_Tiber
mk131
1826-1828
Corot considered always querencia the uniform lights
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The Trinita ai Monti
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The_Trinita_ai_Monti
mk131
1826-1828
Another good example of the role that the values play in the work of Corot.
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Corot_Camille
French Realist Painter ,
1796-1875
French painter, draughtsman and printmaker. After a classical education at the Coll?ge 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's 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's 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
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