{"product_id":"25856-corot-jean-baptiste-camille-souvenir-d-ostie-1855","title":"Corot, Jean-Baptiste-Camille. (1796 - 1875) SOUVENIR D'OSTIE, 1855","description":"\u003cp\u003eCliché Verre, 1855 [printed 1921]. \u003cmeta charset=\"utf-8\"\u003eDelteil 57, Melot 57. Second State of two, with the signature of Corot in reverse, lower left. 12 1\/4 x 16 1\/4 inches, 310x415 mm. (sheet), full margins. Some losses at the sheet edges, not affecting the image, else fine.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-tn=\"pdp-spec-detail-width\" class=\"dc-inlineBlock\"\u003e\u003cspan class=\"dc-textLeft\"\u003e\u003cem\u003eCliché-verre\u003c\/em\u003e is a graphic art technique that combines aspects of photography and printmaking. Until the twentieth century, it had an unsettled nomenclature that awkwardly attempted to bridge these mediums and included various knotty terms like “heliographic drawing” (dessin héliographique) and “photographic autography” (autographie photographique). In the most common, “drawn” method of cliché-verre that Corot employed, a transparent glass plate is covered with an opaque coating, such as collodion. As with copperplate etching, an artist draws through this coating with a stylus, scratching or flecking it off the surface. Once the composition is complete, the plate is a photographic negative; light shines through only the transparent areas of the plate onto light-sensitive paper, creating a photographic image. \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-tn=\"pdp-spec-detail-width\" class=\"dc-inlineBlock\"\u003e\u003cspan class=\"dc-textLeft\"\u003eNo camera is required.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-tn=\"pdp-spec-detail-width\" class=\"dc-inlineBlock\"\u003e\u003cspan class=\"dc-textLeft\"\u003e\u003cmeta charset=\"utf-8\"\u003eCorot was an enthusiastic practitioner of the technique, producing about 65 images from the 1850s to the 1870s and pioneering a spirited but brief efflorescence of cliché-verre making in France. Eugène Delacroix, Théodore Rousseau, Jean-François Millet, and numerous others tried their hands at the newfangled technique, though none besides Corot found it to be a sustaining medium for their work.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"_ea633ddf\"\u003e\n\u003cdiv class=\"_85f5162c\" data-state=\"expanded\" data-tn=\"expanding-area\" id=\"_r_3r_\"\u003e\n\u003cdiv class=\"\" data-tn=\"expanding-area-children-wrapper\"\u003e\n\u003cdiv class=\"_f03247da\"\u003eCorot was a French landscape and portrait painter as well as a printmaker who is considered a great master of landscape painting in the 19th century. A pivotal figure in landscape painting, his vast output (over 3,000 paintings) simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. In the spring of 1829, Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830. The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62791388070047,"sku":"25856","price":3750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Corot25856c.jpg?v=1780168978","url":"https:\/\/www.schubertiademusic.com\/products\/25856-corot-jean-baptiste-camille-souvenir-d-ostie-1855","provider":"Schubertiade Music and Arts","version":"1.0","type":"link"}