1796–1875 · Realism. Wikipedia
Jean-Baptiste-Camille Corot, or simply Camille Corot, was a French landscape and portrait painter as well as a printmaker in etching. A pivotal figure in landscape painting, his vast output simultaneously referenced the Neo-Classical tradition and anticipated the plein-air innovations of Impressionism.
The Bridge at Narni (French: Le pont de Narni) is an 1826 painting of the Ponte d'Augusto at Narni by French artist Jean-Baptiste-Camille Corot. The painting is on display at the Musée du Louvre in Paris. It was painted in September 1826 and was the basis for the larger and more finished View at Narni, which was exhibited at the Salon of 1827 and is in the National Gallery of Canada, Ottawa.
The Road from Sèvres, full title The Road from Sèvres. View from Paris, is an oil on canvas painting by the French painter Jean-Baptiste-Camille Corot, painted in the 1850s. The painting was part of the collection of a French art collector named Georges Thomy-Thierry, and entered the collection of the Louvre Museum in 1902 after his death as per his request. The work was valued at 12,000 francs (87,200 USD, 2025) at the time of its acquisition. The painting was stolen from the museum on 3 May 1998. The stolen painting has not been found as of 2026. Le chemin de Sèvres was stolen from the Louvre Museum on 3 May 1998 by removing pegs from behind its frame. The painting’s estimated value at the time was $1.3 million (equivalent to $2,600,000 in 2025). The Louvre was immediately closed and police searched hundreds of visitors. Police also fingerprinted the painting's frame and glass. The Society of Friends of the Louvre posted a reward of 100,000 francs (equivalent to $16,000 at the time) for information leading to the recovery of the painting. The stolen painting has not been recovered and remains missing.
Le Concert Champêtre (English: Woodland Music-makers) is an 1857 oil-on-canvas painting by French artist Jean-Baptiste-Camille Corot, now in the Musée Condé of Chantilly, France. A reworking of a composition exhibited by Corot in the Salon of 1844, the painting was shown in the Salon of 1857. The painting depicts three women, one with a cello, in the foreground of a forest landscape.
A Woman Reading is an oil-on-canvas painting by French artist Jean-Baptiste-Camille Corot, created in 1869. The painting is in the Metropolitan Museum of Art, in New York. The painting depicts a woman seatead in the countryside, in open air, reading a book. She seems to be immersed in the reading of the book that she has on her lap. In the distance to her left there is a river, where can be seen a man in a boat. The green field and the blue cloudy sky, divide the painting's background almost at half size. Corot, whose reputation was made as a landscape painter, painted many images of solitary, pensive women in his later years. Femme Lisant, which was shown at the Salon of 1869, is the only one of them that he exhibited in his lifetime.
Hagar in the Wilderness is an oil-on-canvas painting by the French artist Camille Corot, created in 1835. It is in the collection of the Metropolitan Museum of Art, in New York. The painting depicts the biblical figure Hagar as she wanders through the wilderness of Beersheba. The painting renders the moment in which Hagar and her son Ishmael experience divine salvation, seen via the inclusion of an angel in the back center of the painting. Much of the landscape seen in the work is derived from Corot's earlier nature studies.
Souvenir de Mortefontaine (English:Recollection of Mortefontaine) is an oil-on-canvas painting by French artist Jean-Baptiste-Camille Corot, created in 1864. It is a scene of tranquillity: a woman and children quietly enjoying themselves by a glass-flat, tree-flanked lake. It is held in the Louvre, in Paris. Generally acknowledged as one of his masterpieces, it is among the most successful of Corot's later, more poetic works. The painting captures an idealized scene while still drawing from the real world. Corot's early painting showed Realist leanings, but as his career progressed he began to combine more Romantic elements, and his works are often viewed as a bridge between Realism and the evolving Impressionist movement. Souvenir de Mortefontaine verges on the Impressionistic, with the lake and landscape captured by broad rather than detailed strokes and Corot's careful attention to the play of light within the scene, though the brushwork is precise and the painting has a more muted palette than the bright colours favoured by the Impressionists. The indistinct features are reminiscent of the blurry details of early landscape photography; Corot had a large collection of these photographs and may have been attempting to recreate the effect in paint.
Diana and Actaeon is an oil on canvas history painting by the French artist Jean-Baptiste-Camille Corot, from 1836. It is held at the Metropolitan Museum of Art, in New York. It depicts a scene from the story of Diana and Actaeon based on the Roman poet Ovid's Metamorphoses. Actaeon, a young hunter, comes across the goddess Diana and her nymphs enjoying a nude swim in the woods. In a fit of fury Diana transforms him into a deer. The painting is also known by the alternative title Diana Surprised in Her Bath.
Castel Sant'Angelo and the Tiber, Rome is an oil-on-canvas painting made by French artist Jean-Baptiste-Camille Corot, between 1826 and 1828. Its a veduta which depicts the cityscape formed by the Castel Sant'Angelo and the Tiber River, in Rome, Italy. It is held at the Louvre, in Paris. Corot signed it, at the bottom left. The painting was one of the several that Corot did of the same subject during a stay in Rome in his youth. It depicts a view of Rome, largely occupied by the Tiber River, in the foreground, while the Castel Sant'Angelo is seen at the center left. It also shows a bridge that crosses the river and several buildings on the right. The painter used loose brushstrokes in the canvas in a technique that seems sketchy or even pre-impressionistic.
The Harbor of La Rochelle is an oil-on-canvas painting by French artist Jean-Baptiste-Camille Corot, created in 1851. It is held at the Yale University Art Gallery, in New Haven. In a horizontal format, this canvas is a seascape depicting the Old Port of La Rochelle, on the Bay of Biscay, in Charente-Maritime. Centered on The Chain Tower, the composition is dominated by the Saint Nicolas Tower and the Lantern Tower, with the foreground on the left showing horses on the quays.
Sibylle is an oil-on-canvas painting by the French artist Jean-Baptiste-Camille Corot, from c. 1870. It depicts a model holding a red rose. The painting is in the Metropolitan Museum of Art, in New York. The painting is better described as a portrait. The work shares stylistic elements with Portrait of Bindo Altoviti, a portrait that was formerly considered to be a self portrait by Raphael, and the Met's description of Sibylle describes the painting as the "height" of Corot's attempts to replicate Raphael's style.
View of Volterra is an oil painting on canvas by French artist Jean-Baptiste-Camille Corot, created in 1838. It is held at the Timken Museum of Art, in San Diego. Corot visited Italy for the second time in 1834, spending then a month in Volterra, a town southwest of Florence. He did at least five oil sketches of the town, during this staying. After returning to Paris, he used these sketches to create two larger paintings of Volterra. The current painting only depicts a view of the town, he directs more attention to the light and the countryside nearby. The painting is believed to be more result of his personal recollections than the depiction of a specific place.
The Cathedral of Chartres is an oil painting on canvas of Chartres Cathedral by the French artist Jean-Baptiste-Camille Corot, created in 1830. After being sold several times, it has been held in the Musée du Louvre, in Paris since 1906. Corot began the painting on the motif in 1830, during the July Revolution which led him to flee Paris. He returned to it 42 years later, in 1872, when he enlarged the format with a relining and placed a character in the foreground.