French painter. Born in Paris on July 17th. Against the wishes of his parents who wanted him to become a merchant, he aspired to become an artist, first studying under the young landscape painter Achille Michallon, then under the neoclassicist Victor Bertin. Through Bertin he also studied with Poussin and others, who also taught him to study nature. He studied in Rome from 1825 to 1828. Sharing the attitude of the foreign painters who had gathered in Rome at the time, who sought to break away from academicism and seek the truth of nature outdoors, he left behind numerous studies that used the fields of Rome and Campania as their subject matter, seeking to depict the bright Mediterranean light and clear forms. After returning to France, he continued to travel in search of the truth of nature, traveling to various parts of France, Switzerland, and England, and also to Italy twice, in 1834 and 1843. In particular, he stayed in Ville d'Abré, near Paris, for a part of the year, and painted the surrounding landscapes, such as Chartres Cathedral (1830, Louvre Museum). He also painted in Barbizon, but unlike other painters who were heavily influenced by the Dutch school, Corot maintained the clarity of the Italian school. Furthermore, while the Barbizon school generally tried to express the conceptual emotions they perceived from nature, Corot sought a more visual truth. However, the soft light, atmosphere, and green tones of the Île-de-France region gradually taught Corot to depict subtle atmospheres that were different from the brightness of Italian vision. These included the subtle radiant green tones that are called "Corot's silver-gray." He began exhibiting regularly at the Salon from 1827 onwards. However, due to consideration of the traditional judging criteria, he focused on historical and biblical paintings, and he did not achieve success until at least 1835. However, his works depicting nymphs in landscapes gradually attracted attention, and his fame skyrocketed when he exhibited them at the Paris World's Fair in 1855. "Memories of Mortefontaine" (1864, Louvre) and "The Bridge at Mante" (1868-70, Louvre) are works from his mature period that reproduce the soft trembling of natural light and even contain quiet poetic thoughts. Corot also painted people, especially nudes and female portraits, leaving behind masterpieces such as "Lady in Blue" (1874, Louvre) and "Madame with a Pearl Necklace" (c. 1868-1870, Louvre), before passing away in Paris on June 22, 1875. The complete catalogue of Corot's works compiled by Robaud includes a collection of around 2,500 works, but several hundred more are expected to be added. [Kimio Nakayama] "Corot" by Madeleine Houle, translated by Junichi Tanaka (1974, Bijutsu Shuppansha)" ▽ "Shincho Bijutsu Bunko 21 Corot" commentary by Mitsuru Sakamoto (1974, Shinchosha)" ▽ "Complete Collection of Contemporary World Art 19 Corot/Millet/Courbet" commentary by Hideya Sasaki (1973, Shueisha)" 1870 Oil painting , Metropolitan Museum of Art Corot's "Bille Dubray" 1865 Oil painting , Metropolitan Museum of Art Corot's "Bacchantes on the Seaside" 1835 Oil painting , Metropolitan Museum of Art Corot's "Hagar in the Wilderness" Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend |
フランスの画家。7月17日パリに生まれる。商人の道を歩ませようという両親の意に反して絵画を志し、最初若い風景画家アシル・ミシャロンに学び、ついで新古典主義者ビクトール・ベルタンに学ぶ。ベルタンを通じてプーサンなどにも学ぶが、ベルタンは同時に、自然を研究することを教える。1825~28年の間ローマに遊学。当時ローマに集まっていた外人画家たちの、アカデミズムを脱却して戸外の自然の真実を求めようとする態度に同調し、ローマやカンパニアの野を題材として、明るい地中海の光、明確な形態感の描出を求めた数多くの習作を残している。 帰国後も自然の真実を求めて、フランスの各地を旅行し、スイス、イギリスにも旅行し、イタリアにも1834、43年の2回旅している。とくに、パリに近いビル・ダブレーに1年のうちある期間滞在して、『シャルトル大聖堂』(1830・ルーブル美術館)などの周辺の風景を描く。バルビゾンでも描いているが、オランダ派の影響の強い他の画家たちに対して、コローはイタリア派の明晰(めいせき)さを守っている。また一般にバルビゾン派が自然から受け止める観念的な情緒を表出しようとしたのに対して、彼はより視覚的な真実を求める。しかし、イル・ド・フランス地方などの柔らかな光や大気、緑の諧調(かいちょう)などが、イタリア的な視覚の明るさとは異なる微妙な雰囲気の描出をしだいにコローに啓発する。「コローの銀灰色」とよばれる微妙な輝きを帯びた緑の諧調などがそれである。 彼は1827年よりサロンに定期的に出品している。しかしここでは伝統的な審査に対する配慮のために歴史画、聖書画などが主体であり、少なくとも35年までは成功していない。しかし、風景のなかにニンフたちを描く作品はしだいに注目を集め、55年のパリ万国博覧会の際の展示で一挙に名声は高まる。『モルトフォンテーヌの思い出』(1864・ルーブル)、『マントの橋』(1868~70・ルーブル)は、自然の柔らかな光の震えを再現するとともに、静かな詩想をさえ宿す円熟期の作品である。 一方、コローは人物表現も行い、とりわけ裸婦や女性肖像に、『青衣の婦人』(1874・ルーブル)、『真珠の首飾りの夫人』(1868~70ころ・ルーブル)などの傑作を残し、1875年6月22日パリに没した。ロボー編集の全作品目録には約2500点の作品が集録されているが、さらにそれに数百点の追加が予想される。 [中山公男] 『マドレーヌ・ウール著、田中淳一訳『コロー』(1974・美術出版社)』▽『坂本満解説『新潮美術文庫21 コロー』(1974・新潮社)』▽『佐々木英也解説『現代世界美術全集19 コロー/ミレー/クールベ』(1973・集英社)』 1870年 油彩メトロポリタン美術館所蔵"> コロー『ビル・ダブレー』 1865年 油彩メトロポリタン美術館所蔵"> コロー『海辺のバッカンテ』 1835年 油彩メトロポリタン美術館所蔵"> コロー『荒野のハガル』 出典 小学館 日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について 情報 | 凡例 |
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