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Updated: June 11, 2025
Instead of a landscape as a tapestry background to a Holy Family, and having no pertinence but an artistic one, we have Corot's "Orpheus." Géricault and Delacroix are the great names inscribed at the head of the romantic roll. They will remain there. And the distinction is theirs not as awarded by the historical estimate; it is personal.
It is a curious and interesting fact that when, as in this case, the spirit of classicism reveals itself anew, its never-dying influence can be the motive for work as fresh and modern as that of Corot. It is also true that the rigid enforcement of the study of drawing was a healthy influence on Corot's early life.
A man of no reading, having only the elements of an education in the general sense of the term, his instinctive sense for what is refined was so delicate that we may say of his landscapes that, had the Greeks left any they would have been like Corot's.
Without these steadying influences these compositions of gradated masses would be sickly and weak. Corot: 2470 Collection Chauchard, Louvre. This is a typical example of Corot's tone scheme, and little need be added to the description already given. Infinite play is got with the simplest means.
At that figure it fell to a noted collector whose walls it still adorns. Here Campbell Corot's New England conscience asserted itself. He insisted on seeing Beilstein in person and told him the facts. Beilstein treated the visitor as an impostor and showed him the door, taking his address, however, and scornfully bidding him make good his story by painting a similar picture, unsigned.
We had run almost continuously on our fourth speed; and even in Laren I came down to the second only long enough to let them all see the beauty of the Mauve country. Starr knows Anton Mauve's pictures, and his history; but the ladies had seen only a few delicious landscapes in the Ryks Museum. Still, they liked to hear that at Laren Corot's great disciple had found inspiration.
Yet when her eye rested on the Corot, Madeleine's only pride, she was evidently perplexed, and resorted to eye-glasses, in order, as it seemed, to gain time for reflection. But she was not to be disconcerted even by Corot's masterpiece: "How pretty! Japanese, isn't it? Sea-weeds seen through a fog. I went to an auction yesterday, and do you know I bought a tea-pot with a picture just like that."
As sure as you're born, sir, it was a "Dance of Nymphs" that I done out of photographs eight years ago. But I can't paint like that no more. I know the way your friend Swift felt; only I guess my case is worse than his. "The mention of photographs gave me a clue to Campbell Corot's artistic methods. It appeared that Beilstein had kept him in the best reproductions of the master.
The other trait peculiar to Corot's representation of nature and expression of himself is his color. No painter ever exhibited, I think, quite such a sense of refinement in so narrow a gamut. Green and gray, of course, predominate and set the key, but he has an interestingly varied palette on the hither side of splendor whose subtleties are capable of giving exquisite pleasure.
This play, this lost-and-foundness at his edges is one of the great distinguishing charms of Corot's trees. These are three of the more extreme types of trees to be met with in art, but the variations on these types are very numerous. Whatever treatment you adopt, the tree must be considered as a whole, and some rhythmic form related to this large impression selected.
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