Word: corot
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...same day that Hitler marched into what remained of France, Manhattan art lovers marched into the Wildenstein Galleries to see the biggest exhibition of France's famed Painter Camille Corot ever held in the U.S. Arranged for the benefit of the Salvation Army War Fund under the somewhat ironic title, The Serene World of Corot, the show filled two large galleries and a smaller room, overflowed into a corridor. Included were 74 paintings, eleven drawings and etchings, nine autographies and several personal souvenirs. More than half the paintings, borrowed from private collections, had never appeared in public before...
...Both Corot's main periods were represented. Between 1826, when Corot painted the clean, realistic Bridge and Castle St. Angela (with St. Peter's dome in the distance), and 1851, when he painted the solid sunlit Harbor of La Rochelle, Corot's art seldom revealed a trace of the feathery brushwork that later made him so rich a man and so sentimental a landscapist. This less familiar period of Corot's work is represented by 22 canvases. Only the most fanatical Corot connoisseurs will recognize in these masterpieces the painter of so many gloomy women...
This part of the show in itself makes this Corot exhibition an important artistic event. For those who prefer Corot's later period, there are a score of vaporous twilight landscapes...
Born in Paris in 1796 of parents who ran a successful millinery shop (Madame Corot was modiste to the court of Napoleon I), Jean-Baptiste Camille Corot started to paint at 26, did not sell a painting for many years. During that time he travelled incessantly (on a handsome allowance from his father), not for pleasure, but to study landscape. His chief inspiration came from Italy, where he did some of his best work: the brilliant, sunlit View of Genoa, the lovely Olevano with its Cezanne-like brushwork. Not until he was in his 50s and under the influence...
Souto was born in 1902 in the northwest Spanish town of Pontevedra (pop. 28,755). His father, a painter of Corot-like landscapes, was also a magistrate and enough of an Anglophile to name his son Arturo, after King Arthur of the Round Table. Taught painting by his father, at 21 he went to Paris, where he studied, haunted the galleries, became a fervent admirer of Delacroix and Rouault. He decided that the modernistic Ecole de Paris was not for him. Said he: "A painting, for me, must be based on human emotion. It is a deep experience...