Page:Cyclopedia of painters and paintings - Volume I.djvu/377

 French forces at Yorktown, Va., October 19, 1781. Cornwallis and his officers are passing before the victorious generals, between the two lines of victorious troops; in middle distance, the town with troops marching out. Painted in 1817-24 for $8,000. Original study in Yale College Gallery.

COROT, (JEAN BAPTISTE) CAMILLE, born in Paris, July 20, 1796, died there, Feb. 23, 1875. Landscape painter, pupil of Michallon and after his death of Victor Bertin. Went to Italy in 1826, and in studying nature as he continued to do on returning to France, in Provence, Normandy, and Fontainebleau, learned to couple breadth of treatment with careful though not obtrusive detail. An eminently suggestive and refined painter, gifted with a highly poetical and tender feeling, he has, from his peculiar excellence in treating still water, the sleeping woods, the broad, pale horizon and the veiled sky, been called the Theocritus of landscape painting. He is well characterized in a sonnet by an American poet, as—

"Thou painter of the essences of things."

At the height of his career, Corot is said to have made 200,000 francs a year by the sale of his pictures. Medals: 2d class, 1833; 1st class, 1848 and 1855; 2d class, 1867; L. of Honour, 1846; Officer, 1867. Works: View at Narni, Roman Campagna (1827); two Italian Views, Duke of Orléans; another Italian View (1834), Douai Museum; Souvenir of the Suburbs of Florence (1839), Metz Museum; Danse des Nymphs (1851), Roman Forum, Coliseum, Luxembourg Museum; Christ in the Garden (1849), Langres Museum; Sunset in the Tyrol (1850), Marseilles; Souvenir of Marcoussis, bought by Emperor; Martyrdom of St. Sebastian (1853); Evening Star, W. T. Walters, Baltimore; Morning, Evening (1855); Burning of Sodom, Nymph playing with a Cupid, The Concert, Sunset (1857); Dante and Virgil, Boston Museum; Macbeth (1850); Idyl, Italian Tyrol, Studies at Ville d'Avray (1859); Sunrise, Orpheus, A Lake, Souvenir of Italy, Rest (1861); Study at Méry (1863); Souvenir of Morte-Fontaine, Gust of Wind (1864); Morning, Environs of Lake Nemi (1865); Evening, Solitude (1866); Ruins of Castle of Pierrefonds, Morning, Evening (1867); Morning at Ville d'Avray (1868); Woman Reading, Morning at Ville d'Avray (1869); Landscape with Figures (1870); Near Arras (1872); Pastoral Scene, The Parson (1873); Arlem, Evening, Moonlight (1874); Woodsmen, Pleasures of Evening, Biblis (1875); Nymphs Dancing, Cornelius Vanderbilt, New York; Danse des Amours, Chas. A. Dana, New York.—Ch. Blanc, Artistes, d. m. I., 365; Claretie, Peintres, etc. (1882), 97; Du Camp, Beaux Arts, 80; Leclercq, Caractères, 184; Meyer, Gesch., Kunst-Chronik, x. 437; C. Carr, Essays, 174; L'Art, i. 216, 240, 269, Ménard; Hamerton, French Painters; Portfolio (1870), 60 (1875), 146; Gaz. des B. Arts (1875), xi. 330; 1881; Contemp. Rev., xxvi. 157; Overland Monthly, xv. 468.

CORREA, DIEGO, died in 1550. Spanish school. Painted a series of pictures of scenes from life of Christ, now in Madrid Museum, for Bernardine Convent of Valdeiglesias. Style resembles that of Perugino, whence some think he studied at Florence. According to Siret, there is a picture in convent of Valdeiglesias signed D. Correa fecit, 1550. Christ Crucified, Dresden Museum.—Stirling, i. 150.

CORREGGIO, born at Correggio in 1494(?), died there, March 5, 1534. Lombard school. Real name Antonio Allegri, son of Pellegrino Allegri; probably pupil of his father's brother, Lorenzo, and of Antonio Bartolotti, both second-rate painters of his native town. At Modena he is said to have found a better master in Francesco Bianchi, called Ferrari, who belongs to the school of Francia; but