Word: corot
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...they were effected upon her by all the faceless image molders who, in the end, made the Pygmalion of legend seem by comparison a mass of clumsy thumbs. Under close and improving direction, her famous walk developed from something crudely virginal into something profanely sophisticated. Some unknown Corot reduced the red of her lips from a massive smear to a spot in a breathtaking landscape. Her hair, sprayed and sculpted a thousand times, softened down into a pangloss of wishful thinking, making nature say uncle...
...futurists were turned down because of some sort of disagreement now lost to history. But aside from these omissions, just about every big name in modern art was in, and the big names turned out to be mostly French, including the small historical perspective of Ingres, Delacroix, Daumier and Corot. But perspective was not what the critics...
Floating Studio. The oldest member of the new school was Jean-Baptiste-Camille Corot, who began painting landscapes-out of doors in 1822, when he was 26. A rover who toted his easel all over France, Italy and the Low Countries, he captured farmhouses, fishing villages, animals and people in muted colors of luminous clarity. He had a sense of structure that both Seurat and Cezanne admired, but he was more interested in the surface of nature than in its interior turbulence. His quiet scenes were sometimes a bit melancholy, sometimes vibrant with a profound...
...Corot's friend Charles Daubigny bought a boat and used it as a floating studio. He painted scenes along the coasts of France and Holland with brush strokes that became increasingly liquid, in keeping with his subjects. Critics accused him of hastening too much over solid detail, surrendering too much to vague "impressions." Writes Professor Herbert: "It was in this dispute, which revolved around his diminishing the difference between sketch and finished painting, that the battle for impressionism was first engaged...
Though 16 years younger than Corot, Theodore Rousseau was in his lifetime the dominant figure in the school. He was obsessed by the moods of nature, from the wild turmoil of storms to the glassy calm of scenes like his Farm on the Banks of the Oise. To those who have dismissed the Barbizon painters as little more than copyists of nature, Rousseau gave an arresting reply. To paint from nature, he said, was not to copy it but to converse with it, to paint objects in terms of "the echoes they have placed in our souls." He had "heard...