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Arleux-Palluel, The Bridge of Trysts was painted by Jean-Baptiste-Camille Corot in 1871-1872. Corot was a French landscape and portrait painter, and a pivotal figure in landscape painting. His work references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. Arleux-Palluel, The Bridge of Trysts is an oil painting on canvas, measuring 60.8 x 73 cm (23 1/2 x 28 1/2 in). The painting is currently held in the collection of the Art Institute of Chicago.
| Characteristics | Values |
|---|---|
| Artist | Jean-Baptiste-Camille Corot |
| Year | 1871-1872 |
| Artist's Nationality | French |
| Medium | Oil on canvas |
| Dimensions | 60.8 x 73 cm (23 1/2 x 28 1/2 in.) |
| Collection | Potter Palmer Collection |
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What You'll Learn
Jean-Baptiste-Camille Corot
Corot was not a brilliant student and did not show an early interest in art. At 19, he was described as a "big child, shy and awkward". After his parents moved in 1817, Corot moved into a room that became his first studio. With his father's help, he apprenticed to a draper, but he hated commercial life and gave it up at 26 when his father allowed him to pursue art. He first studied with the landscapist Achille Etna Michallon and later with Jean-Victor Bertin, both pupils of Pierre-Henri de Valenciennes.
Corot travelled to Italy between 1825 and 1828, a trip considered essential to the formation of a landscape artist. He also travelled extensively in France, to Normandy, Provence, the Morvan region in Burgundy, and northeast France in 1871. In 1827, he sent his first paintings to the Paris Salon: 'View at Narni' and 'Roman Campagna'.
Corot was a pivotal figure in landscape painting, and his work referenced the Neo-Classical tradition while also anticipating the plein-air innovations of Impressionism. He was also influential to later 19th-century landscape painting, including the Impressionists, particularly in his portrayal of light on the landscape. He won a gold medal at the Exposition Universelle of 1855, where he showed six paintings.
Corot's work includes 'Arleux-Palluel, The Bridge of Trysts' (1871-72), 'A Wagon in the Plains of Artois' (1871), 'Souvenir of Antibes' (1874), 'Saint Sebastian Succored by the Holy Women' (1874), and 'Beach near Etretat' (c. 1872).
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The Art Institute of Chicago
The painting was created between 1871 and 1872, using oil on canvas. It measures 60.8 x 73 cm (23 1/2 x 28 1/2 inches) and is inscribed with the artist's name, "Corot", in the lower left corner. The framed work measures 88.9 x 101.6 x 12.1 cm (35 x 40 x 4 3/4 inches).
The painting is part of the Potter Palmer Collection, which was bequeathed to the Art Institute in 1922. It has been exhibited numerous times, both within the institute and internationally. Within the institute, it has been included in exhibitions such as "
Internationally, the painting has been exhibited in Paris at Arnold & Tripp in 1882, Georges Petit in 1883, and Durand-Ruel in 1889, according to Robaut 1905. It was also exhibited in Chicago in 1892, as noted in Chicago 1933. The painting has been referenced in various publications, including "
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Oil on canvas
"Arleux-Palluel, The Bridge of Trysts" is a painting by Jean-Baptiste-Camille Corot, a French landscape and portrait painter, printmaker in etching, and pivotal figure in landscape painting. Corot was born in Paris in 1796 and came from a bourgeois family. His father was a wigmaker, and his mother was a milliner.
"Arleux-Palluel, The Bridge of Trysts" was painted with oil on canvas in 1871-1872. It measures 60.8 x 73 cm (23 1/2 x 28 1/2 in) and is currently on display at the Art Institute of Chicago. The painting is inscribed with "Corot" in the lower left corner.
Corot began his career as an apprentice to a draper, but he disliked commercial life and business. With his father's support, he transitioned to the profession of art at the age of 26. He turned to oil painting around 1821 and immediately began creating landscapes. After the death of his sister in 1822, he began receiving a yearly allowance of 1500 francs, which financed his career, studio, materials, and travel.
As a landscape artist, Corot's work was influenced by the trends of his time. Landscape painting in early 19th-century France was divided between historical landscapes by Neoclassicists and realistic landscapes, with the latter being more common in Northern Europe. Corot's work references both the Neo-Classical tradition and the innovations of Impressionism.
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French landscape and portrait painter
"Arleux-Palluel, The Bridge of Trysts" is a painting by the French landscape and portrait painter, Jean-Baptiste-Camille Corot, completed between 1871 and 1872. Corot was born in Paris in 1796 and came from a bourgeois family. His father was a wigmaker, and his mother a milliner.
Corot was not a brilliant student and showed no interest in art until he was 26. With his father's help, he had apprenticed to a draper, but he hated the commercial life. However, his exposure to the colours and textures of fabrics helped him develop an aesthetic sense. After turning to oil painting, he began with landscapes, and his first paintings after nature were made in the region where he lived with the Sennegon family.
Corot is a pivotal figure in landscape painting, with his work referencing the Neo-Classical tradition and anticipating the innovations of Impressionism. During his time, landscape painting was gaining popularity, and artists generally followed two approaches: historical landscape painting, which was common in Southern Europe, and realistic landscape painting, more prevalent in Northern Europe. Corot's work was influenced by English painters John Constable and J.M.W. Turner, who advocated for Realism over Neoclassicism.
In the 1830s, a group of painters settled in Barbizon, near the Fontainebleau Forest, becoming the first generation of French artists to reject idealised scenes in favour of naturalistic observations of their native land. This group, later known as the Barbizon School, included painters such as Theodore Rousseau and Charles-François Daubigny, who chose to sketch directly from nature. Another hub of plein-air painting emerged in Normandy along the English Channel in the 1850s, with artists like Eugène Isabey excelling in coastal views.
The next generation of landscape painters, the Impressionists, used this plein-air approach to capture scenes of modern life, eroding the distinction between sketch and finished work. Artists like Monet, Renoir, and their colleagues created informal compositions with loose strokes of unmodulated colour, abandoning traditional techniques of perspective and chiaroscuro.
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Corot's early life
Jean-Baptiste-Camille Corot, commonly known as Camille Corot, was born in Paris on July 16, 1796, at 125 Rue du Bac. His parents, a wigmaker and a milliner, were bourgeois people who ran a successful business, ensuring that Corot never wanted for money throughout his life. He was the second of three children, and the family lived above their shop.
Corot was not a gifted student and did not excel in drawing classes. He lived with the Sennegon family during his youth, and it was in this region that he made his first paintings after nature. At 19, he was described as a "big child, shy and awkward", and he was embarrassed by the beautiful ladies who frequented his mother's salon. He was, however, a well-behaved and affectionate son, adoring his mother and trembling when his father spoke.
Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen but left due to scholastic difficulties and entered a boarding school. With his father's help, he then apprenticed to a draper, but he hated commercial life and remained in the trade until he was 26, when his father finally consented to him becoming an artist. Corot stated:
> "I told my father that business and I were simply incompatible, and that I was getting a divorce."
In 1821, Corot began to study landscapes, and in 1822, after the death of his sister, he began receiving a yearly allowance of 1500 francs, which financed his new career, studio, materials, and travel. He rented a studio on quai Voltaire and turned to oil painting. During this time, landscape painting was on the upswing, and Corot focused on two types of landscapes: historical landscapes containing ancient and mythological creatures, and realistic landscapes, mostly of Northern Europe, with faithful renditions of flora and fauna.
In the autumn of 1825, Corot went to Rome, and the three years he spent there were the most influential of his life. He painted the city and the countryside around it and travelled to Naples, Ischia, and Venice. He returned to France via Venice, settling into a routine of painting outside during spring and summer and finishing works during autumn and winter.
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Frequently asked questions
It was painted in 1871/1872.
It was painted by Jean-Baptiste-Camille Corot.
The painting is currently housed at the Art Institute of Chicago.
