Jean-Baptiste-Camille Corot Quotes (17 quotes)

Jean-Baptiste-Camille Corot: 17 quotes3 likes

Famous Jean-Baptiste-Camille Corot Quotes

“You know, a landscape painter's day is delightful. You get up early, at three o'clock in the morning, before sunrise; you go and sit under a tree; you watch and wait. At first there is nothing much to be seen. Nature looks like a whitish canvas with a few broad outlines faintly sketched in; all is misty, everything quivers in the cool dawn breeze. The sky lights up. The sun has not yet burst through the gauze veil that hides the meadow, the little valley, the hill on the horizon... Ah, a first ray of sunshine!”

Jean-Baptiste-Camille Corot

Corot's description of the beginning of a day in Switzerland, Château de Gruyères, 1857; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963
1850s

“Be guided by feeling alone. We are only simple mortals, subject to error; so listen to the advice of others, but follow only what you understand and can unite in your own feeling.”

Jean-Baptiste-Camille Corot

Quote from Corot's 'Notebooks', ca. 1856, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 241
1850s

“I am staying on in Geneva, this charming city. With each step I discover delightful motives. How pleasant it is to work here. And the light is just the way I like it, full of delicate nuances.”

Jean-Baptiste-Camille Corot

Quote in a letter to his friend, the painter Paul Tavernier, Geneva, July 1842; ; as quoted in 'Corot', Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 136
1820 - 1850

“My spirits.... now lean towards sadness and melancholy. I too am beginning to feel my age. Then, as one moves on in life sorrows multiply, and necessarily it is harder to keep cheerful... [I experienced] violent disappointments, that I might even call grief.”

Jean-Baptiste-Camille Corot

Quote in Corot's letter to Jean-Gabriel Scheffer, 27 Dec. 1845; as quoted in Corot, Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 142
this is one of the very few negative expressions by Corot; he is then 49.
1820 - 1850

“I have learned from experience that it is useful to begin by drawing one's picture clearly on a virgin canvas, first having noted the desired effect on a white or gray paper, and then to do the picture section by section, as immediately finished as one can, so that when it has all been covered there is very little to retouch. I have noticed that whatever is finished at one sitting is fresher, better drawn, and profits more from many lucky accidents, while when one retouches this initial harmonious glow is lost. I think that this method is particularly good for foliage, which needs a good deal of freedom.”

Jean-Baptiste-Camille Corot

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 239 – 240
1820 - 1850

“I spent the winter [1859-1860, when he was painting 'Orfée et Euridice'] in the Elysian fields, where I was very happy; you must admit that if painting is a folly, it’s a sweet folly that men should not only forgive but seek out.”

Jean-Baptiste-Camille Corot

Corot told Dumensnil in 1875; as quoted in Corot, Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 290 – note 18
1870s

Jean-Baptiste-Camille Corot Quotes about painting

“I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.”

Jean-Baptiste-Camille Corot

Quote from Corot's 'Notebooks', ca. 1850, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 240-241
1850s

“The whole landscape lies behind the transparent gauze of the fog that now rises, drawn upwards by the sun, and as it rises, reveals the silver-spangled river, the fields, the cottages, the further scene. At last one can discern all that one could only guess at before... The sun is up! There is a peasant at the end of the field, with his wagon drawn by a yoke of oxen... Everything is bursting into life, sparkling in the full light – light, which as yet is still soft and golden. The background, simple in line and harmonious in colour, melts into the infinite expanse of sky, through the bluish, misty atmosphere. The flowers raise their heads the birds flutter hither and thither... The little rounded willows on the bank of the stream look like birds spreading their tails. It's adorable! And one paints! And paints!”

Jean-Baptiste-Camille Corot

Corot's description of a morning in Switzerland, Château de Gruyères, 1857, as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963
1850s

“If my time has come I shall have nothing to complain of. For fifty-tree years I have been painting; so I have been able to devote myself entirely to what I loved best in the world. I had never suffered poverty; I had good parents and excellent friends; I can only thank God.”

Jean-Baptiste-Camille Corot

Quote from Corot's letter to his friend M. Francais in 1875, the year of his death
1870s

“You can see the pains I take to hide the attachment [of the muscles] at the clavicles and sternum, to soften the modeling of the ribs where it seems that the breasts just begin to swell; I try to go about it entirely differently from the usual way, which is above all to show what one knows. As this is not an anatomy lesson, I must bind together as seen in nature everything covering the armatures that make up and support the body, in order to put down only what I experience faced with these tissues of flesh that let one sens the blood beneath, while they reflect the light of the sky. In a word, I must bring to the painting of that breast the same artlessness I would employ in painting a bottle of milk.”

Jean-Baptiste-Camille Corot

Corot explains his making of the painting to his biographer Alfred Robaut, c. 1869; as quoted in Corot, Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 277
about his painting 'Landscape with Figures', also called 'La Toilette', Corot painted in 1859
1860s

“I dream my picture and afterwards I paint my dream.”

Jean-Baptiste-Camille Corot

As translated in Musical Courier Vol. 57, No. 21 (18 November 1908), p. 20; in recent years a nearly identical but ultimately unsourced remark has been attributed to Vincent Van Gogh; the very earliest such attributions yet found date to the 1990s.
As translated in Bible Mystery and Bible Meaning (1918) by Thomas Troward, p. 207
As translated in Gardener's Chronicle of America (1932)
undated
Original: (fr) Je rêve mon tableau, et plus tard je peindrai mon rêve.

Jean-Baptiste-Camille Corot Quotes

“It is this book ['The Imitation of Christ'] that has helped me lead my life which such serenity and has always left me with a contended heart. I has taught me that men should not puff themselves up with pride, whether they are emperors, adding this or that province tot heir empires, or painters who gain a reputation.”

Jean-Baptiste-Camille Corot

Quote, recorded by Madame Aviat; as cited in Corot, Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 272-73 – quote 69
1860s

“I thank heaven that I was born in the same century as this remarkable artist”

Jean-Baptiste-Camille Corot

= Daubigny
a remark c. 1865; as quoted in Corot, Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 272 – quote 65
1860s

“Beauty in art is truth bathed in an impression received from nature. I am struck upon seeing a certain place. While I strive for a conscientious imitation, I yet never for an instant lose the emotion that has taken hold of me. Reality is one part of art; feeling completes it... Before any site and any object, abandon yourself to your first impression. If you have really been touched, you will convey to others the sincerity of your emotion.”

Jean-Baptiste-Camille Corot

Quote from Corot's 'Notebooks', ca. 1856, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 241
1850s

“He [ Delacroix ] is an eagle, I am only a lark.”

Jean-Baptiste-Camille Corot

as quoted in Corot, Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 272 – quote 65
1860s

“.. and, to tell the truth, I find it very difficult to like new art. It is only lately, and after having been unsympathetic for a great while, that I at last understood Eugene Delacroix, whom I now think a great man.”

Jean-Baptiste-Camille Corot

as quoted by Arthur Hoebert, in The Barbizon Painters – being the story of the Men of thirty – associate of the National Academy of Design; publishers, Frederick A. Stokes Company, New York 1915, p. 61
undated

“The first two things to study are form and values. For me, these are the bases of what is serious art. Color and finish put charm into one’s work.... it seems to me very important to begin by an indication of the darkest values (assuming that the canvas is white), and to continue in order to the lightest value. From the darkest to the lightest I would establish twenty shades... Never lose sight of that first impression by which you were moved. Begin by determining your composition. Then the values – the relation of the forms to the values. These are the basis. Then the color, and finally the finish.”

Jean-Baptiste-Camille Corot

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 240
1820 - 1850