Word: corots
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Dates: during 1990-1999
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THERE CAN'T BE MANY PEOPLE TOday who would think of putting Jean-Baptiste-Camille Corot (1796-1875) among the giants of 19th century French painting--Delacroix, Courbet, Manet, Monet or Cezanne. Yet in his lifetime he was regarded as one of the greatest landscapists who ever lived, and for most cultivated Frenchmen the very idea of comparing a bungler like Cezanne with their beloved Corot would have seemed faintly barbarous. The big show that opened in Paris last month--drawings and prints at the Bibliotheque Nationale, 163 paintings at the Grand Palais--marking the 200th anniversary of Corot...
...these visionary collectors and benefactors, the Fogg set up a special exhibition in late September of this year entitled, "Heavenly Twins': Edward W. Forbes, Paul J. Sachs and the Building of a Collection." The exhibition draws from works the two men acquired over the years and features drawings by Corot, Durer, Degas, Picasso and many others...
...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...