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a the vaquero on the Riverbank
new19/Jean Baptiste Camille Corot-249887.jpg
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a_the_vaquero_on_the_Riverbank
mk221
1865-1870
Oil on canvas
39.4x56.3cm
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souvenir de mortefontaine
new20/Jean Baptiste Camille Corot-743654.jpg
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souvenir_de_mortefontaine
mk247
1864,oil on canvas,25.5x35 in,65.5x89 cm,louvre,paris,france
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rural scene
new20/Jean Baptiste Camille Corot-257677.jpg
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rural_scene
mk247
1875,oil on canvas,musee toulouse lautrec,albi,france
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skottkarran
new20/Jean Baptiste Camille Corot-847934.jpg
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skottkarran
mk248 i likbet med millet ocb daumie bade pissarro en djup respekt for arbetare dessutom var ban involverad i socialistisk politik. aven om ban var val bekant med umbaranden avbildade ban aldrig kroppsarbete som nagot svart eller mindervrdigt arbete reglerar krop ocb sjal pa ett underbart satt. fag glommer all sorg ovb bitterbet ocb kan till ocb med strunta i det for arbetets gladje. har bar en kvinna med balm i famnen stannat till under vad liknar en trium fbage formad av appeltraden.
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appelskord i ariccia
new20/Jean Baptiste Camille Corot-742643.jpg
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appelskord_i_ariccia
mk248 ettav corots silverskimrande landskap i vilket ban fangar en ogonblicksbild av ljud ocb rorelse pa ett sadant utsokt satt att bans appek plockerska nastsn kunde uara en av nymferna i en claude lorrains bilder hennes nagot diffusa gestalt bar knappast vittnesbord om att corot senare skull bli en driven malare av kvinnoportratt ocb kvinnostudier,
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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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