The History of Modern Painting, Volume 2 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 2 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
For five-and-twenty years it was permitted to him to labour in perfect
ripeness, freedom, and artistic independence. One thinks of Corot as
though he had been a child until he was fifty and then first entered
upon his adolescence. Up to 1846 he took from his father the yearly
allowance of twelve hundred francs given him as a student, and in that
year, when he received the Cross of the Legion of Honour, M. Corot
doubled the sum for the future, observing: "Well, Camille seems to have
talent after all." About the same time his friends remarked that he went
about Barbizon one day more meditatively than usual. "My dear fellow,"
said he to one of them, "I am inconsolable. Till now I had a complete
collection of Corots, and it has been broken to-day, for I have sold one
for the first time." And even at seventy-four he said: "How swiftly
one's life passes, and how much must one exert one's self to do anything
good!" The history of art has few examples to offer of so long a spring.
Corot had the privilege of never growing old; his life was a continual
rejuvenescence. The works which made him Corot are the youthful works of
an old man, the matured creations of a grey-headed artist, who--like
Titian--remained for ever young; and for their artistic appreciation it
is not without importance to remember this.
[Illustration: _Baschet._
DUPRÉ. SUNSET.
(_By permission of M. Jules Beer, the owner of the picture._)]
Of all the Fontainebleau painters Corot was the least a realist: he was
the least bound to the earth, and he was never bent upon any exact
rendering of a part of nature. No doubt he worked much in the open air,
but he worked far more in his studio; he painted many scenes as they lay
before him, but more often those which he only saw in his own mind. He
is reported to have said on his deathbed: "Last night I saw in a dream a
landscape with a sky all rosy. It was charming, and still stands before
me quite distinctly; it will be marvellous to paint." How many
landscapes may he not have thus dreamed, and painted from the
recollected vision!
[Illustration: _L'Art._
DUPRÉ. THE HAY-WAIN.]
Public-domain text, read in full here on John Shaqi.
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