The most dissimilar, the most unique, the most distinctive - the criticism never skimped on enthusiastic epithets about the French romantic, who expanded the boundaries of the genre and introduced something into it that served as an inspiration for the impressionists of the second half of the 19th century.
Koro became an artist suddenly. From childhood, this absent-minded and silent son of a prosperous merchant did not cause special problems for parents. He studied in a private boarding house, then was sent to Rouen, where he learned the basics of trading. He studied without pleasure, but managed in all subjects.
The very first experience in the cloth merchant's shop was sad. Camille did not know how to sell stale goods, and gave new and high-quality goods to a large discount to anyone who asked for this discount. The owner of the shop sent him to the family with a letter in which he regretfully informed the parent that his son was unsuitable for commerce. Father did not think to be upset, attributing all the failures of his offspring to youth and inexperience.
Camille's sudden statement that he no longer wants to do business and wants to become an artist, also did not unsettle his father. He was only glad that he would not spend more money on his son.
For several years, apprentices at the famous masters of painting in Paris taught little to a novice artist. He learned much more during his trip to Italy. From the trip, Koro brings several studies that received good reviews from colleagues. After Italy, the artist travels through his native country, creating one masterpiece after another. With its fertility and speed, with which the master gave out new paintings, the artist resembled Dutch masters of the 17th century.
Koro's legacy is a whole gallery of portraits, several works on mythological and allegorical subjects and innumerable landscapes that have received the highest recognition in the art world.
The master believed that only what was written from nature the first time is the most sincere and talented. The etiquette of his canvases, some incompleteness, at first aroused bewilderment, but soon the criticism came to terms with this. Along with incompleteness, Corot admired the ability to grasp the main thing, avoid static and bring something more to the landscape. Playing in halftones, loving fogs, haze, fuzzy forms, the artist managed to bring into his romantic landscapes that sense of mobility and life itself, which inspired the impressionists, who were preoccupied precisely with the transmission of the movement of the world around them, their first impressions of what they saw.
Corot was true to his manner for the rest of his life. From 1827 until his death in 1875, the master did not miss a single exhibition in the Salon. Interestingly, his latest works were presented to the public after his death. Dying in his Paris apartment, Corot ordered several of his works to be exhibited at the next exhibition, even if he was no longer alive. At the 1875 exhibition, the most popular with the public were the works of a departed artist, a recognized master, unique and distinctive, unlike others.