Jean-Baptiste-Camille Corot quotes
Jean-Baptiste-Camille Corot was a renowned French landscape painter and printmaker associated with the Barbizon School. His lyrical and atmospheric scenes influenced the development of Impressionism. He became one of the most respected landscape artists of his era. Here are 25 of his quotes:
I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.
Jean-Baptiste-Camille Corot
If my time has come I shall have nothing to complain of. For fifty-tree years I have been painting; so I have been able to devote myself entirely to what I loved best in the world. I had never suffered poverty; I had good parents and excellent friends; I can only thank God.
Jean-Baptiste-Camille Corot
It is this book ['The Imitation of Christ'] that has helped me lead my life which such serenity and has always left me with a contended heart. I has taught me that men should not puff themselves up with pride, whether they are emperors, adding this or that province tot heir empires, or painters who gain a reputation.
Jean-Baptiste-Camille Corot
The whole landscape lies behind the transparent gauze of the fog that now rises, drawn upwards by the sun, and as it rises, reveals the silver-spangled river, the fields, the cottages, the further scene. At last one can discern all that one could only guess at before... The sun is up! There is a peasant at the end of the field, with his wagon drawn by a yoke of oxen... Everything is bursting into life, sparkling in the full light – light, which as yet is still soft and golden. The background, simple in line and harmonious in colour, melts into the infinite expanse of sky, through the bluish, misty atmosphere. The flowers raise their heads the birds flutter hither and thither... The little rounded willows on the bank of the stream look like birds spreading their tails. It's adorable! And one paints! And paints!
Jean-Baptiste-Camille Corot
You can see the pains I take to hide the attachment [of the muscles] at the clavicles and sternum, to soften the modeling of the ribs where it seems that the breasts just begin to swell; I try to go about it entirely differently from the usual way, which is above all to show what one knows. As this is not an anatomy lesson, I must bind together as seen in nature everything covering the armatures that make up and support the body, in order to put down only what I experience faced with these tissues of flesh that let one sens the blood beneath, while they reflect the light of the sky. In a word, I must bring to the painting of that breast the same artlessness I would employ in painting a bottle of milk.
Jean-Baptiste-Camille Corot
The first two things to study are form and values. For me, these are the bases of what is serious art. Color and finish put charm into one's work.... it seems to me very important to begin by an indication of the darkest values (assuming that the canvas is white), and to continue in order to the lightest value. From the darkest to the lightest I would establish twenty shades... Never lose sight of that first impression by which you were moved. Begin by determining your composition. Then the values – the relation of the forms to the values. These are the basis. Then the color, and finally the finish.
Jean-Baptiste-Camille Corot
I have learned from experience that it is useful to begin by drawing one's picture clearly on a virgin canvas, first having noted the desired effect on a white or gray paper, and then to do the picture section by section, as immediately finished as one can, so that when it has all been covered there is very little to retouch. I have noticed that whatever is finished at one sitting is fresher, better drawn, and profits more from many lucky accidents, while when one retouches this initial harmonious glow is lost. I think that this method is particularly good for foliage, which needs a good deal of freedom.
Jean-Baptiste-Camille Corot
..he [= Corot] knows how to be a colorist with a tone-range of little variety – and that he always achieves harmony even when using fairly crude and bright tones. His composition is always perfect. Thus in his 'Homère et les Bergers' no detail is unnecessary, nothing could be cut out; not even the two little figures walking away along the path..
Jean-Baptiste-Camille Corot
![My dear Theo.. ..Yesterday I saw the Corot exhibition. It included a painting of the 'Mount of Olives'; I'm glad he painted that. On the right, a group of olive trees, dark against the darkening blue sky; in the background hills covered with shrubs and a couple of tall trees, above them the evening star. There are 3 Corot's at the Salon [in Paris], very beautiful, the most beautiful one, painted shortly before his death, 'Women cutting wood', will probably appear as a woodcut in 'L'Illustration or Le Monde Illustré'. (Jean-Baptiste-Camille Corot)](https://cdn.quotesdtb.com/img/quotes_images_webp/72/jean-baptiste-camille-corot-1004572.webp)
What I like so much about Corot is that he can say everything with a bit of tree; and it was Corot himself that I found in the museum of Naples [in 1882] – in the simplicity of the work of Pompeii and the Egyptians. These priestesses in their silver-grey tunics are just like Corot's nymphs.
Jean-Baptiste-Camille Corot