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
To these impressions of Rouen, Ville d'Avray, and Barbizon were added
finally those of Paris. For Corot was born in Paris, and, often as he
left it, he always came back; he passed the greatest part of his life
there, and there it was, perhaps, that in his last period he created his
most poetic works. In these years he had no more need of actual
landscapes; he needed only a sky and they rose before him. Every evening
after sundown he left his studio just at the time when the dusk fell
veiling everything. He raised his eyes to the sky, the only part of
nature which remained visible. And how often does this twilight sky of
Paris recur in Corot's pictures! At the end of his life he could really
give himself over to a dream. The drawings and countless studies of his
youth bear witness to the care, patience, and exactitude of his
preparation. They gave him in after-years, when he was sure of his
hand, the right to simplify, because he knew everything thoroughly. Thus
Boecklin paints his pictures without a model, and thus Corot painted his
landscapes. The hardest problems are solved apparently as if he were
improvising; and for that very reason the sight of a Corot gives such
unspeakable pleasure, such an impression of charming ease. It is only a
hand which has used a brush for forty years that can paint thus. All
effects are attained with the minimum expenditure of strength and
material. The drawing lies as if behind colour that has been blown on to
the canvas; it is as if one looked through a thin gauze into the
distance. Whoever has studied reality so many years, with patient and
observant eye, as Corot did, whoever has daily satiated his imagination
with the impressions of nature, may finally venture on painting, not
this or that scenery, but the fragrance, the very essence of things, and
render merely his own spirit and his own visions free from all earthly
and retarding accessories. There is a temptation to do honour to Corot's
pictures merely as "the confessions of a beautiful soul."
[Illustration: _L'Art._ NARCISSE DIAZ.]
Public-domain text, read in full here on John Shaqi.
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