Jean Baptiste Camille Corot Framed Prints - A Pair
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Pair of Early Jean Baptiste Camille Corot Framed Prints
Condition consistent with age and history. Please use zoom feature to ... morePair of Early Jean Baptiste Camille Corot Framed Prints
Condition consistent with age and history. Please use zoom feature to check item condition and contact us with any questions prior to purchasing. Thank you.
Print Titles and Description:
Souvenir de Mortefontaine (Recollection of Mortefontaine) is an 1864 oil-on-canvas painting by French artist Jean-Baptiste-Camille Corot. It is a scene of tranquillity: a woman and children quietly enjoying themselves by a glass-flat, tree-flanked lake.
Generally acknowledged as one of his masterpieces, it is among the most successful of Corot's later, more poetic works. The painting captures an idealized scene while still drawing from the real world. Corot's early painting showed Realist leanings, but as his career progressed he began to combine more Romantic elements, and his works are often viewed as a bridge between Realism and the evolving Impressionist movement. Souvenir de Mortefontaine verges on the Impressionistic, with the lake and landscape captured by broad rather than detailed strokes and Corot's careful attention to the play of light within the scene, though the brushwork is precise and the painting has a more muted palette than the bright colours favoured by the Impressionists. The indistinct features are reminiscent of the blurry details of early landscape photography; Corot had a large collection of these photographs and may have been attempting to recreate the effect in paint.
The Dance of the Nymphs represents a turning point in Corot's career, announcing his move from "historical" to "lyrical" landscapes where the natural world is increasingly subject to atmospheric effects. Here however, the artist does not go as far as a "pure" landscape like those of the painters of the Barbizon school to whom he was very close. Corot's work retains the mark of tradition both in the survival of mythological subjects and in the clear distinction between studies "after nature" and studio paintings. Furthermore, in 1857, he confessed that Millet's peasant scenes were: "a new world for me, one in which I am lost; I am too attached to the old one".
The Dance of the Nymphs was the result of a "collage" of two different scenes. Even though the painting was presented as a bacchanal at the 1851 Salon, the dancing figures may have been based on the artist's reverie of scenes recalled from the Opera. In addition, the backdrop of trees resembles a stage curtain, and imbues the whole scene with the atmosphere of a ballet. The title further adds to the ambiguity, the word "matinee" possibly being an allusion to daytime performances, as opposed to "soirées". For this landscape, Corot produced a mirror image of a study he did in the gardens of the Farnese Palace in Rome twenty years earlier. The soft, blurred leaves, so specific to this later period of Corot's work, testify to the artist's interest in the elements of nature rather than the characters portrayed. This is a significant aspect that contributed to Corot's importance in the development of 19th century painting. He is just one step away from the rural landscape, which itself heralded the research of the future Impressionists.
Approximate Frame Dimensions: 10" wide x 7.5" high
Approximate Print Dimensions: 9.25" wide x 6.75" high
Approximate Weight: 1 lb. each less
- 10ʺW × 0.5ʺD × 7.5ʺH
- Condition Notes
- Excellent - Minor wear consistent with age and history Excellent - Minor wear consistent with age and history less
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