Word: corot
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...world from traditional eighteenth century portraiture, through a school of the national landscape, to proto-Impressionsim. Kobke's Copy of Eckersberg's Portrait of Thorvaldsen (1828) boasts an intense dramatic tone, vaguely reminiscent of David or other French portraitists of the era. Kyhn's landscapes suggest the influence of Corot. To complete the simultaneous development, Kroyer's blurry seascape in Self-Potrait Painting on Skagen Beach (1907) has overtones of similar works by Monet...
...COROT TO MONET: THE RISE OF LANDSCAPE PAINTING IN FRANCE, The Currier Gallery of Art, Manchester, NH. The lush greens and pastoral beauty of rural France are explored through the works of over 100 19th century Barbizon painters, including such as Daubigny, Millet and Pissarro. Through April...
Thus Ryder the proto-Expressionist was born. He sounds like De Kooning, but actually he looked more like his idol, Corot, only denser and more fixed: tiny imploded scenes, whose glow and atmospheric subtlety were much admired in their time but can hardly even be assessed now. For in pursuit of jewel-like effects and deep layering of color, Ryder painted "lean over fat," so that slower-drying strata of paint underneath pulled the quicker-drying surface apart. He would slosh abominable messes of varnish on the surface, and pile up the pigment by incessant retouching until the images became...
There is no kind of artwork that has not been forged, from Cycladic idols to Watteaus, from medieval manuscripts to rococo porcelain elephants, from Michelangelo drawings to paintings by Constable, Picasso or (a great favorite) Renoir. It used to be said that Camille Corot painted 800 pictures in his lifetime, of which 4,000 ended up in American collections...
What one sees today, especially in Brooklyn, is a different Courbet. He is a painter immersed both in popular art and in the traditions of his medium (Caravaggio, the Le Nains, Corot). He is inventive, yes, but not in a burn- the-Louvre way. He is an empiricist (though not without sentimental moments) for whom the sense of touch preceded that of sight. What the vibration of light would be to Monet, the force of gravity was to Courbet. It is the physical law that insinuates itself into almost every one of his images, confirming their materiality and stressing their...