1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.  Related Paintings of Jean Baptiste Camille Corot :. | WOman in Blue | Le Coup du Vent | The lake | Ischia,View from the Slopes of Mount Epomeo (mk05) | Woman in Blue (mk05) |
Related Artists:
Jan Spanjaert
Dutch , c. 1590-Before 1664 . Active in Delft and Amsterdam 1632-1665
Thomas Jones
Thomas Jones (26 September 1742 - 29 April 1803) was a British landscape painter. He was a pupil of Richard Wilson and was best known in his lifetime as a painter of Welsh and Italian landscapes in the style of his master. However, Jones's reputation grew in the 20th century when more unconventional works by him, ones not been intended for public consumption, came to light. Most notable among these is a series of views of Naples which he painted from 1782 to 1783. By breaking with the conventions of classical landscape painting in favour of direct observation, they look forward to the work of Camille Corot and the Barbizon School in the 19th century. His autobiography, Memoirs of Thomas Jones of Penkerrig, went unpublished until 1951 but is now recognised as a major work of commentary on the 18th-century art world.
Amadeo Preziosi
Italian Painter, 1816-1882