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Corot ; Louvre, Cabinet des Dessins [31.5. - 27.08.2007]

Arlette SérullazJean-Baptiste-Camille Corot

出版	5 Continents, 2007
ISBN	23503112799782350311272
URL	http://books.google.com.hk/books?id=bh1LAQAAIAAJ&hl=&source=gbs_api

註釋The Louvre retains the largest fund drawings and albums by Corot, largely from the collection bequeathed to the Louvre in 1927 by Etienne Moreau-Nelaton. Pupil of Bertin Michallon then, it was in Italy that Corot was convinced that the drawing is the basis of art. Until his death, he never stopped drawing, beginning with a special predilection for graphite pencil, carefully trimmed, and the pen just as thin and slender. Driven by a strong desire and innate to nature as it is, the artist quickly realized the advantage he might derive from these two mediums, and multiplied the studies of landscape pattern. Simultaneously, Corot became interested in portraits, careful to identify the individual character of its models whose shapes are identified small fine lines and precise. From the 1850s, Corot preferred charcoal and uses colored paper, often of large size. This technique which he has full control it provides, using the stump and heightened with white chalk, the effects of chiaroscuro gives his compositions a dreamlike atmosphere. Having previously worked mostly on nature. Corot now draws more memory and engages in countless variations on a theme, that of the motionless man in a mysterious nature. Contrasting with the invoice incisive studies performed in the first part of his life, the late drawings, with deep velvety blacks give us the key to this imaginary world as the artist was pleased to recreate memories from his travel through Italy and France. Covered notations and quick sketches, scrapbooks can follow this perpetual traveling in his every move. They contain valuable insights of the artist himself and his work. Subtle modulations of a single registry, black and white drawings give us a great lesson of life in harmony with nature.