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Updated: June 15, 2025
Corot, six feet one, weight two hundred, ruddy, simple, guileless, singing softly to himself as he walked, in peasant blouse, and sabot-shod, used to come up to Paris, his birthplace, two or three times a year, and the gamins would follow him on the streets, making remarks irrelevant and comments uncomplimentary, just as they might follow old Joshua Whitcomb on Broadway in New York.
See how it distorts outlines, and throws a mysterious glamour over the dark patches of timber. Corot would have loved it." The Texan shook his head: "No. It wouldn't have got to him. He couldn't never have got into the feel of stuff like that. Meakin did, and Remington, but it takes old Charlie Russell to pick it right out of the air an' slop it onto canvas." Alice regarded the man in wonder.
Daubigny, Diaz and Rousseau are great painters, and they each have disciples and imitators who paint as well as they; but Corot and Millet stand out separate and alone, incomprehensible and unrivaled. And yet were ever two artists more unlike! Just compare "The Dancing Sylphs" and "The Gleaners." The theme of all Millet's work is, "Man goeth forth to his labors unto the evening."
My personal concern in all this enthusiasm the enthusiasm of the fashionable market-place is that I once more find myself a dissident, and a dissident in a very small minority. I think of Monet now as I thought of him eighteen years ago. For no moment did it seem to me possible to think of him as an equal of Corot or of Millet.
Two of his pictures done in Rome in his twenty-ninth year, "The Colosseum" and "The Forum," now in the Louvre, are good pictures complete in detail, painstaking, accurate, hard and tight in technique. They are bomb- proof beyond criticism absolutely safe. Have a care, Corot! Keep where you are and you will become an irreproachable painter.
Rembrandt told all that a golden ray falling through a darkened room awakens in a visionary brain; Corot told all that the grey light of morning and evening whispers in the pensive mind of the elegiac poet.
This willingness to let the unrestrained spirit romp was strong in Corot and it is to be recommended. How much finer it is to go out into the woods and lift up your voice in song, and be a child, than to fight inclination and waste good God-given energy endeavoring to be proper whatever that may be!
But if I had asked why the picture, notwithstanding its incontestable merits, was so much on the surface, why it so irresistibly suggested un decor de theatre, why one did not enter into it as one does into a picture by Wilson or Corot, my criticism would have gone to the root of the evil. And the reason of this is because Monet has never known how to organise and control his values.
Degas is also clearly related to Corot, not only in the silvery harmonies of his suave landscapes, but also, and particularly, in his admirable faces whose inestimable power and moving sincerity we have hardly commenced to understand. Degas passed slowly from classicism to modernity. He never liked outbursts of colour; he is by no means an Impressionist from this point of view.
The most wonderful Rembrandt, Velasquez, Turner, Hobbema, Van Dyck, Raphael, Frans Hals, Romney, Gainsborough, Whistler, Corot, Mauve, Vermeer, Fragonard, Botticelli, and Titian reproductions followed in such rapid succession as fairly to daze the magazine readers. Four pictures were given in each number, and the faithfulness of the reproductions astonished even their owners.
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