Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 1374 teost Camille Corot meie kataloogis
Lühidalt
Galleriist vaadatuna on Camille Corot kõige kuulsam teos View of Lormes (1840), mille originaal ripub Metropolitan Museum of Art-is, New York. Civita Castellana and Mount Soracte (1827) ja Etude teoseks "Soodomi hädamine" (1843) täidavad kolmikut, mille iga silm tunnistab. Kunstnii Camille Corot 1,374 teose põhjal esitleb galeriis allpool 100 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
In the quiet heart of the Morvan region, where the rolling hills of Burgundy meet the soft light of a French afternoon, Jean-Baptiste-Camille Corot captured a moment of eternal peace. His masterpiece, View of Lormes, is far more than a mere topographical record of a village; it is a poetic meditation on the harmony between humanity and the natural world. Created around 1840, this landscape invites the viewer to step…
A Serene Vision of the Italian Landscape – Corot’s Civita Castellana and Mount Soracte Jean-Baptiste-Camille Corot's “Civita Castellana and Mount Soracte,” painted in 1827, isn’t merely a depiction of a Tuscan hillside; it’s an immersion into the very soul of the Italian countryside. This oil on canvas, now residing within the Nationalmuseum in Stockholm, offers a profound meditation on light, atmosphere, and the quiet beauty of the natural world –…
Teosest tutmus Jean Baptiste Camille Corot'i Etude teoseks "Soodomi hädamine" on lummav õli-kilesel maali, mis pärineb 1843. aastast. See väike skiss, mõõdult 36 x 50 cm, loodi kompositsioonilise uuringuna suurema maali Soodomi hädamine jaoks, mis sai alguses 1843. aastal Pariisi Salongilt tagasijuhatatud, kuid hiljem 1844. aastal vastu võetud. Kompositsioon ja elemendid Maal kujutab biblitsilist stseenit Soodomi hädamist, kus inimesed paktavad põlevast linnast. Kaooticne stseen on täis suitsu, mis lisab kiirust…
A Symphony of Light and Verdure The Forest of Fontainebleau, painted by Jean-Baptiste-Camille Corot in 1834, is far more than a mere depiction of a woodland; it is a profound meditation on the serenity of the natural world. At first glance, the viewer is drawn into a tranquil scene where a woman rests near the gentle flow of a river, her presence harmonizing perfectly with the surrounding landscape. The composition…
A Moment Frozen in Time: Jean Baptiste Camille Corot’s View of Genoa Jean-Baptiste-Camille Corot's "View of Genoa from the Promenade of Acqua Sola," completed in 1834, isn’t merely a depiction of a cityscape; it’s an embodiment of Romantic idealism distilled onto canvas. Situated at the Art Institute of Chicago—where it resides today alongside numerous other masterpieces—this painting transcends its geographical subject matter to offer a profound meditation on light, atmosphere,…
The painting Souvenir of Ville d'Avray is a depiction of a forest scene. Within this woodland setting, two people are seated on the ground beneath trees. One man appears to be holding a gun as they sit together. In the background, several other individuals are visible, though they are positioned further away from the main subjects.
Jean-Baptiste-Camille Corot's "View at Riva, Italian Tyrol," painted in 1834, isn’t merely a landscape; it’s an invitation to stillness. This oil on canvas transports the viewer to a serene lakeside scene nestled within the dramatic folds of the Italian Alps, a place where time seems to slow and the soul finds respite. Corot, a pivotal figure bridging the Neo-Classical tradition with the nascent Impressionism, masterfully captures not just the visual…
The painting depicts a serene riverside scene featuring a man rowing a boat on tranquil water. The landscape is bordered by dense woodland, and the atmosphere is characterized by a sense of peace. Several other people are scattered throughout the area, with some positioned near the water's edge and others further away. The scene includes various animals, such as two dogs—one near the center and another toward the right—and a…
A man in medieval armor rests upon the earth. He wears a suit of chain mail, and a sword hangs at his side. Around him, the landscape unfolds in undulating hills and rough grasses. Two other figures occupy the periphery, distant and absorbed in their own quiet movements. The knight does not strike a pose of conquest; he exists with a heavy, silent dignity. The scene captures a moment from…
The painting depicts a nude woman seated on a rock, positioned as if overlooking a tranquil pool. She is shown in a relaxed posture, with her hands placed upon her head. Her gaze is directed upward toward the sky, suggesting a moment of quiet contemplation. The scene is set within a landscape characterized by trees and rocks, which provide a sense of depth and texture to the composition. The background…
A Road at Ville d’Avray1874 · Calouste Gulbenkian Fondatsioon
12
Souvenir of Terracina1864 · National Gallery of Art
13
Souvenir of Italy (also known as The Moored Boat)1864
14
The Studio (also known as Young Woman with a Mandolin)1865 · Musée d'Orsay
15
The Church of Marissel1867 · Louvre'i muuseum
16
The Four Times of Day: Morning1858 · National Gallery
17
Pool in the Wood1867 · Hermitage muuseum
18
Evening Landscape (also known as The Ferryman, Evening)1839 · J. Paul Getty muuseum
19
The Destruction of Sodom1843 · Metropolitan Museum of Art
20
The Solitude. Recollection of Vigen, Limousin1866 · Thyssen-Bornemisza Museum
21
Bacchante by the Sea1865 · Metropolitan Museum of Art
22
Ville d'Avray, Cowherd in a Clearing near a Pond1871
23
The Environs of Paris1860 · Metropolitan Museum of Art
24
Gathering Fruit at Mortefontaine1800 · Detroit Institute of Arts
25
Souvenir of Italy1857 · Art Institute of Chicago
26
the lake - -1861
27
The Evening Star1864
28
The Four Times of Day: Noon1850 · National Gallery
29
Dunkirk
30
Evening1860 · Hermitage muuseum
31
Italian Woman with a Yellow1870 · National Gallery
32
The Parc des Lions at Port-Marly1872 · Thyssen-Bornemisza Museum
33
Forest of Fontainebleau, oil on canvas, Museum o1846 · Museum of Fine Arts
34
Chartres Cathedral1872
35
Pool in the Woods
36
Orpheus Leading Eurydice from the Underworld1861 · Museum of Fine Arts
37
A Farm in the Nievre1831 · Museum of Fine Arts
38
Beach near Etretat1872 · National Gallery of Art
39
The Valley1871 · Botero Museum
40
Dance of the Nymphs1860 · Musée d'Orsay
41
The Moored Boatman: Souvenir of an Italian Lake1861 · Corcoran Gallery of Art
42
Le Lac (also known as Le Chemin des Vaches)1875 · USC Fisher Museum of Art
43
A Windmill in Montmartre1845 · Musée d'Art et d'Histoire de Genève
44
Char, memory of Marcoussis1855 · Musée d'Orsay
45
italian girl (detail - )
46
The Evening Star1864 · Walters Art Museum
47
A Rising Path1845 · Louvre'i muuseum
48
Ville d'Avray - The Horses Watering Place1860
49
Florence - The Boboli Gardens1834 · Louvre'i muuseum
50
Ville d'Avray - the Chemin de Corot1840
51
Roman Campagne - Rocky Valley with a Herd of Pigs1827
52
Toussaint Lemaistre, Architect1833 · Metropolitan Museum of Art
53
Landscape with Woman and Child1850 · Fine Arts Museums of San Francisco
54
Honfleur - The Old Wharf1824
55
Repose1860
56
Sevres-Brimborion - View toward Paris1864 · Baltimore Museum of Art
57
Strolling along the Banks of a Pond1865
58
The Church of Trinità dei Monti Seen from the Villa Medici
59
The Bridge at Mantes1868 · Louvre'i muuseum
60
CourtyardPhiladelphia Museum of Art
61
Monsieur Pivot on Horseback1853 · National Gallery
62
Pensive Young Brunette1850 · Philadelphia Museum of Art
63
Diana Bathing (The Fountain)1869 · Thyssen-Bornemisza Museum
64
Woman with a Pearl1858 · Louvre'i muuseum
65
Rocks in the Forest of Fontainebleau
66
Young Girl with a Mandolin1850 · Detroit Institute of Arts
67
Windswept Landscape1865 · Musée des Beaux-Arts
68
Monte soracte
69
Fishermen's Quay, Trouville
70
Forest of Fontainebleau1846 · Museum of Fine Arts
71
Italian woman holding a jug1830 · Brooklyn Museum
72
M. Bison (J. D. Alphonse Bison)1852 · Ashmolean Museum
73
Souvenir of the Lake Nemi Region1865 · Art Institute of Chicago
74
Melancholy1855 · Ny Carlsberg Glyptotek
75
Forest of Fontainebleau (detail - )
76
A Nymph Playing with Cupid
77
The Young Woman of Albano (L'Albanaise)1872 · Brooklyn Museum
78
Boatman among the Reeds1865 · Metropolitan Museum of Art
79
Le Chateau Saint-AngePalais des Beaux-Arts de Lille
80
Souvenir of Riva1865 · Taft Museum of Art
81
Maid with red flower1850 · Staatsgalerie Stuttgart
82
The Muse: History1865 · Metropolitan Museum of Art
83
The Fair Maid of Gascony (also known as The Blond Gascon)1850
84
Chateau de Rosny1840 · Louvre'i muuseum
85
Portrait of Abel Osmond1829 · Cantor Arts Center at Stanford University
86
Reverie1860 · Metropolitan Museum of Art
87
Nymphs Leaving the Bath1843 · Art Institute of Chicago
88
Breton Women at the Fountain
89
The Colosseum Seen through the Arcades of the Basilica of Constantine
90
Sketch of a Woman in Bridal Dress1860 · National Gallery
91
At Fontainebleau
92
Landscape at Civita Castellana1827 · Metropolitan Museum of Art
93
Venise, La Piazzetta
94
Portrait of a Woman'1870 · The Phillips Collection
95
Ville d’Avray
96
le batelier quittant la rive avec une femme et une femme
97
Lormes - Shepherdess Sitting under Trees beside a Stream1842 · Cleveland Museum of Art
98
Melancholy Italian Woman (Rome)1826 · Barnes Foundation
99
Harvester with Sickle1850
100
Agostina
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Camille Corot teosid | Selle nimekirja maalid |
|---|---|---|---|
 Metropolitan Museum of Art |
New York | 44 | View of Lormes, Etude teoseks "Soodomi hädamine", The Destruction of Sodom |
 Louvre'i muuseum |
Pariis | 35 | The Knight, The Church of Marissel, A Rising Path |
 National Gallery |
London | 27 | The Four Times of Day: Morning, The Four Times of Day: Noon, Italian Woman with a Yellow |
 Musée d'Orsay |
Pariis | 16 | Souvenir of Ville d'Avray, The Studio (also known as Young Woman with a Mandolin), Dance of the Nymphs |
 Art Institute of Chicago |
Chicago | 10 | View of Genoa from the Promenade of Acqua Sola, Souvenir of Italy, Souvenir of the Lake Nemi Region |
 National Gallery of Art |
Washington | 25 | View of the Forest of Fontainebleau, Souvenir of Terracina, Beach near Etretat |
 Museum of Fine Arts |
Boston | 21 | Forest of Fontainebleau, oil on canvas, Museum o, A Farm in the Nievre, Forest of Fontainebleau |
 Hermitage muuseum |
Stiiitlinburg | 7 | Morning, Pool in the Wood, Evening |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
A Serene Vision of the Italian Landscape – Corot’s Civita Castellana and Mount Soracte Jean-Baptiste-Camille Corot's “Civita Castellana and Mount Soracte,” painted in 1827, isn’t merely a depiction of a Tuscan hillside; it’s an immersion into the very soul of the Italian countryside. This oil on canvas, now residing within the Nationalmuseum in Stockholm, offers a profound meditation on light, atmosphere, and the quiet beauty of the natural world –…
A Symphony of Light and Verdure The Forest of Fontainebleau, painted by Jean-Baptiste-Camille Corot in 1834, is far more than a mere depiction of a woodland; it is a profound meditation on the serenity of the natural world. At first glance, the viewer is drawn into a tranquil scene where a woman rests near the gentle flow of a river, her presence harmonizing perfectly with the surrounding landscape. The composition…
In the quiet heart of the Morvan region, where the rolling hills of Burgundy meet the soft light of a French afternoon, Jean-Baptiste-Camille Corot captured a moment of eternal peace. His masterpiece, View of Lormes, is far more than a mere topographical record of a village; it is a poetic meditation on the harmony between humanity and the natural world. Created around 1840, this landscape invites the viewer to step…
The painting depicts a serene riverside scene featuring a man rowing a boat on tranquil water. The landscape is bordered by dense woodland, and the atmosphere is characterized by a sense of peace. Several other people are scattered throughout the area, with some positioned near the water's edge and others further away. The scene includes various animals, such as two dogs—one near the center and another toward the right—and a…
A man in medieval armor rests upon the earth. He wears a suit of chain mail, and a sword hangs at his side. Around him, the landscape unfolds in undulating hills and rough grasses. Two other figures occupy the periphery, distant and absorbed in their own quiet movements. The knight does not strike a pose of conquest; he exists with a heavy, silent dignity. The scene captures a moment from…
The painting Souvenir of Ville d'Avray is a depiction of a forest scene. Within this woodland setting, two people are seated on the ground beneath trees. One man appears to be holding a gun as they sit together. In the background, several other individuals are visible, though they are positioned further away from the main subjects.
View of Lormes (1840), Metropolitan Museum of Art, New York. Järgnevad Civita Castellana and Mount Soracte (1827) ja Etude teoseks "Soodomi hädamine" (1843).
44 aastat vanus: teos View of Lormes on pärinev aastast 1840 ning Camille Corot sündis aastal 1796.
View of Lormes, Civita Castellana and Mount Soracte, Etude teoseks "Soodomi hädamine", View of the Forest of Fontainebleau, View of Genoa from the Promenade of Acqua Sola, Souvenir of Ville d'Avray, View at Riva, Italian Tyrol, Morning, The Knight ja Venus at Her Bath. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 1,374 teost kunstnikult Camille Corot, mis on pärinevad ajastust 1824 kuni 1875.
Peamiselt Metropolitan Museum of Art (New York), Louvre'i muuseum (Pariis) ja National Gallery (London) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1860s: 29 100 sellel lehel olevat teost on sellel perioodil loodud, მათart közül The Knight.
Sellel lehel on kõige vanem teos Honfleur - The Old Wharf (1824) ja kõige värskeim Le Lac (also known as Le Chemin des Vaches) (1875).
Trees (23), Woman (19) ja Rural scene (17), kogu selle lehekülje 100 teose kohta.
Oil On Canvas, 68 teoseks 100 töödelt sellel lehel.
Romantic landscape painting, seda lähtudes selle lehe originaalteostest.
View of Lormes, Etude teoseks "Soodomi hädamine" ja The Destruction of Sodom: Metropolitan Museum of Art, New York säilitab 10 selle lehel olevat teost.
Jean-Baptiste-Camille Corot sündis Pariisis aastal 1796. Ta kasvas praktilist käsitöödest koosnevas kodukeskkonnas, olles kolmest lasest teine. Tema isa töötas parukukkujana ning ema, Marie-Françoise Corot, oli mütsitegija. Need varajad aastad Pariisi peres pakkusid stabiilset, kuigi vaatmat, alust ซึ่ง ta pöörduks hiljem valguse ja vormi uuringute poole.
Tema ametlik kunstiline haridus algas tunnustatud maalide atelJEEDES. Aastatel 1821 kuni 1822 õppis ta Achille Etna Michalloni juures. See õppetund pakkus tehnilist alust, mis oli vajalik tema hilisemate uuringute jaoks. Ta veetis aega õppides ka Jean-Victor Bertini juures, imeldes endasse maastiku traditsiooni meetodeid, mis kujustas tema lähenemist looduse maailmale.
Tema loomine algas õues, looduse keskel. Ta veetis aega joonistades ja tehes esialgseid skiiitse, et tabada hetkese valguse voolu otse maastikus. Kui esialgised vaatlused olid kogutud, taastis ta oma stuudios lõppviimistlust, ühendades õues saadud muljed sisekeskkonna kontrollitud oludustega. See meetod võimaldas tal luua oma kompositsioone läbi õlivärvi õhukeste ja läbipaistsete kihidena, mis lõpuks liaisusid lamedalt liaisuselt kangelusele. Ta eelistas peenelt ja sujuvalt rakendatavat tehnikat, kasutades sageli kergeid ja vabad oskustusi tekstuuride loomiseks. See lähenemine aitas tal püüdistada taimestiku värskust ja uue kasvuga kaasnevat eristatavat ilu, captureerides looduse elulise alguse.
Tema stiil liikus realistliku suunaga, keskendudes sellele, kuidas valgus ja atmosfäär onnevad füüsilise maailmaga. Selle asemel, et tuguda rasketel ja paksul kihlidel, kasutas ta toonide üleminekut, et luua sügavuse ja koldimõõtmise tunnet. See värvi ja kompositsiooni hoolikas käitlemine võimaldas tal kirjeldada valguse mängu stseenil ilma liigse detailide vajadusel. Tema hilisened teosed võisid sageli omada maastikuliste mälestuste vormi – need olid unenäolised, kujuteldud maalid, mis põhinesid kohtadel, kuhu ta oli varem reisinud.
Kui Jean-Baptiste-Camille Corot jõudus oma viimase dekade juurde, oli ta Pariisi kunstiringkondes tuntud kui "Père Corot". See tiitel peitis endas palju enam kui lihtsalt viitust tema vanusele; see rääkis tema rollist kesksena tegelaskonnas, kes pidasid läbi üleminekut akadeemilistest traditsioonidest uute, vabama vaatamiste viiside poole. 1850. aastate keskpäel hakkasid tema tööd liiguma üha suurema impressionistliku stiili suunas. Ta lahutas end minevikust püsivast ja rigiidsust ja eelistas maaliuuringut, mis eelseisis impressionismi liikumuse plein-air innovatsioonidele. Ta leidis viisi, kuidas jäädvustada valgus, mis puhkab lehtedel, ja atmosfääri, mis pehmendab kauge horisonti.
Tema mõju oli kättetav viisis, kuidas ta pintsliga töötas, kasutades kergeid ja vabad strokesid, et kirjeldada taimestiku värsket uuenemist. See lähenemine aitas teevad teed hilisemale kunstnikkondele, kes püüdisid looduse fleeting qualities ehk ajutlikke kvaliteete tabada otse loodusest. Ta tunnustati kui üht maailma suuremaid maastikukunstnikke, staatus, mis on ehitatud üle 3000 teose laia pärandi külge. Tema võime tasakaalustada orgaaniliste vormide täpsust sügava meeleolu ja atmosfääri abil jättis perematamatu jälje maastikumaali kunstile.
Tema kunstilisi jälgi otsides suu pöördub sageli Pariisi poole. Louvre'i muuseum säilitab suure osa tema pärandist, hoides oma seinade vahel 35 teost. Vahetult selle lähedal on Musée d'Orsay, mis säilitab kuus tema maalid. Need kolleksid võimaldavad vaatajal vaatata lähedalt, kuidas ta manipuleeris valgust ja kuidas ta kirjastas taimestikku uuenemise ja värskuse hetkel. Reimsis aga hoiab Musée des Beaux-Arts oma värvilist kogumikku 27 lapi-põhjalisest maalist, mis on tema teoste arvulis vaid Louvre'ilt järgmine.
Atlanti üle on tema kunstiline kohalolu feltitav mitmetes suuremates institutsioonides. New Yorkis asub Metropolitan Museum of Art, mis säilitab 26 tema teost, sealhulgas teose Agostina, mis on maalis aastal 1866. Washingtonis asub National Gallery of Art, mis hoiab 6 teost, ning Philadelphia Museum of Art säilitab 4 maali. Need teosed pakuvad võimalust jälgida tema stiili üleminekut rangematest kompositsioonidest lähemmas, vabama ja atmosfäärilisema suunaga, mida ta arenikas oma elu lõppuees.
