{"data": {"id": 140078, "accession_number": "1963.91", "share_license_status": "CC0", "tombstone": "La Cervara, the Roman Campagna, c. 1830\u201331. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1963.91", "current_location": "220 19th Century European", "title": "La Cervara, the Roman Campagna", "creation_date": "c. 1830\u201331", "creation_date_earliest": 1830, "creation_date_latest": 1831, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); Unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.)", "dimensions": {"framed": {"height": 1.3, "height_inch": 51, "height_inch_fraction": 0.1875, "width": 1.675, "width_inch": 65, "width_inch_fraction": 0.9375, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.976, "height_inch": 38, "height_inch_fraction": 0.4375, "width": 1.358, "width_inch": 53, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 515538, "title": "Corot Exhibition", "description": "<i>Corot Exhibition</i>. Gallery of the Royal Scottish Academy, Edinburgh (organizer) (August 14-September 12, 1965); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (October 1-November 7, 1965).", "opening_date": "1965-08-14T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 380187, "title": "Jean-Baptiste Camille Corot", "description": "<i>Jean-Baptiste Camille Corot</i>. National Gallery of Canada (June 20-September 22, 1996); The Metropolitan Museum of Art (October 21, 1996-January 19, 1997).", "opening_date": "1996-02-27T05:00:00"}, {"id": 228194, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Capitale delle Arti", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Capitale delle Arti</i>. Galleria Nazionale d'Arte Moderna, Rome, Itlay (March 5-June 29, 2003).", "opening_date": "2003-03-05T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 220464, "title": "Corot. Nature, Emotion, Souvenir", "description": "<i>Corot. Nature, Emotion, Souvenir</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (June 7-September 11, 2005); Palazzo dei Diamanti, 44110 Ferrara, Italy (October 9, 2005-January 8, 2006).", "opening_date": "2005-06-07T00:00:00"}], "legacy": [{"description": "<em>La Cervara, campagne de Rome</em>. Salon Mus\u00e9e Royal, Paris, France (1831).", "opening_date": null}, {"description": "<em>Corot 1796-1875.</em>Art Institute of Chicago, Chicago, Illinois (1960). (Lent by Paul Rosenberg).", "opening_date": "1960-01-01T00:00:00"}]}, "provenance": [{"description": "Cl\u00e9ment Jourdan [1836-1908], Paris, France, 1889.", "citations": [], "footnotes": null, "date": "1889", "sortorder": null}, {"description": "Seganville family, Ch\u00e2teau St. Pierre-de-Groupiac, France", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Probably Harry Sperling, New York.)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Paul Rosenberg & Co., Paris and New York, by 1960.", "citations": [], "footnotes": null, "date": "1960-1963", "sortorder": 4}, {"description": "Paul Rosenberg & Co., Paris, France and New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1963", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1963", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1845, the French poet Charles Baudelaire proclaimed Corot the leading painter of the modern landscape.", "early_education_description": null, "artlens_description": null, "description": "Corot based his large oil painting on drawings and oil sketches made outdoors. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting's highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot's early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q41515823"], "internet_archive": ["https://archive.org/details/clevelandart-1963.91-la-cervara-the-roman"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: no. 28", "url": null}, {"citation": "Robaut, Alfred, and Etienne Moreau-Ne\u0301laton. <em>L'\u0152uvre de Corot</em>. Paris, France: H. Floury, 1905.", "page_number": "Mentioned: p. 46, vol. I", "url": null}, {"citation": "Moreau-Ne\u0301laton, Etienne. <em>Corot raconte\u0301 par lui-me\u0302me</em>. Paris, France: Henri Laurens, E\u0301diteur, 1924.", "page_number": "Mentioned: p. 22, vol. I", "url": null}, {"citation": "Jal, A. <em>Salon de 1831: e\u0301bauches critiques</em>. Paris, France: A.J. De\u0301nain, 1831.", "page_number": "Mentioned: no. 399", "url": null}, {"citation": "<em>Camille Corot, 1796-1875: Kunsthaus Zu\u0308rich : 16. August-7. Oktober 1934</em>. Zu\u0308rich, Switzerland: Das Kunsthaus, 1934.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "Bazin, Germain. <em>Corot</em>. Berlin, Germany: Kru\u0308ger Verlag, 1942.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Baud-Bovy, Daniel. <em>Corot</em>. Gene\u0301ve, Switzerland: A. Jullien, 1957.", "page_number": "Reproduced: p. 81", "url": null}, {"citation": "Fosca, Franc\u0327ois. <em>Corot, Sa Vie Et Son \u0152uvre</em>. Bruxelles, Belgium: Elsevier, 1958.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Art Institute of Chicago. <em>Corot, 1796-1875: An Exhibition of His Paintings and Graphic Works, the Art Institute of Chicago, October 6 Through November 13, 1960</em>. Chicago, IL: Art Institute of Chicago, 1960.", "page_number": "Reproduced: no. 19", "url": null}, {"citation": "Saisselin, Remy. \"Art is imitation of Nature.\" The Bulletin of The Cleveland Museum of Art LII (1965): 42-43.", "page_number": "Mentioned: p. 42; Reproduced: p. 43, fig. 1", "url": null}, {"citation": "Arts Council of Great Britain, and Cecil Hilton Monk Gould. <em>Corot</em>. London, United Kingdom: Arts Council, 1965.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 168", "url": "https://archive.org/details/CMAHandbook1966/page/n192"}, {"citation": "Lurie, Ann T. \"Corot: The Roman Campagna.\" <em>The Bulletin of The Cleveland</em> <em>Museum of Art </em>LIII (1966):51-57.", "page_number": "Reproduced: fig. 1", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 168", "url": "https://archive.org/details/CMAHandbook1969/page/n192"}, {"citation": "Talbot, William S. \u201cJohn Constable: Branch Hill Pond, Hampstead Heath.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 3 (March 1974): 97\u2013115.", "page_number": "Mentioned and reproduced: p. 112-113, fig. 17", "url": "http://www.jstor.org/stable/25152518"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 207", "url": "https://archive.org/details/CMAHandbook1978/page/n227"}, {"citation": "Talbot, William S. \"Some French Landscapes: 1779-1842.\" <em>The Bulletin of The Cleveland Museum of Art </em>LXV (1978): 84-85.", "page_number": "Reproduced: fig. 12", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Wissman, Fronia E. <em>J.-B.-C. Corot: View of Volterra</em>. San Diego, CA: [Timken Art Gallery], 1988.", "page_number": "Mentioned: p. 9, 15; Reproduced:  fig. 10.", "url": null}, {"citation": "Galassi, Peter. <em>Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition</em>. New Haven, CT: Yale University Press, 1991.", "page_number": null, "url": null}, {"citation": "Chagneau,Catherine, and Marie-France Cocheteux. <em>Corot, 1796-1875: [expositions] Paris, Galeries nationales du Grand Palais, 28 fe\u0301vrier-27 mai 1996 ; Ottawa, Muse\u0301e des beaux-arts du Canada, 21 juin-22 septembre 1996 ; New York, the Metropolitan Museum of Art, 22 octobre 1996-19 janvier 1997</em>. Paris, France: Re\u0301union des muse\u0301es nationaux, 1996.", "page_number": "Mentioned: p. 22, 80-85;Reproduced: no. 30", "url": null}, {"citation": "Pomare\u0300de, Vincent. <em>Corot</em>. Paris, France: Flammarion, 1996.", "page_number": "Reproduced: p.74,75; Mentioned p. 98", "url": null}, {"citation": "Rubin, James Henry. <em>Courbet</em>. London, United Kingdom: Phaidon, 1997.", "page_number": "Reproduced: p. 223; Mentioned: p. 225", "url": null}, {"citation": "Azeglio, Massimo d', and Martina Corgnati. <em>Massimo d'Azeglio: pittore</em>. Milano, Italy: Mazzotta, 1998.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "De Rosa, Pier Andrea, and Paolo Emilio Trastulli. <em>La campagna romana: cento dipinti inediti tra fine Settecento e primo Novecento</em>. Roma, Italy: Studio Ottocento, 1999.", "page_number": "Reproduced: p. 196, no. 93", "url": null}, {"citation": "Rosenberg, Pierre, and Jean-Pierre Caillet. <em>La peinture franc\u0327aise</em>. Paris, France: Menge\u0300s, 2001.", "page_number": "Reproduced: p. 605; Mentioned: p. 673", "url": null}, {"citation": "Susinno, Stefano, Sandra Pinto, Liliana Barroero, Fernando Mazzocca, Giovanna Capitelli, and Matteo Lafranconi. <em>Maesta\u0300 di Roma: da Napoleone all'unita\u0300 d'Italia</em>. Milano, Italy: Electa, 2003.", "page_number": "Reproduced: p. 354, vol. 6", "url": null}, {"citation": "<em>Corot: natura, emozione, ricordo : Madrid, Museo Thyssen-Bornemisza, 7 giugno-11 settembre 2005, Ferrara, Palazzo dei Diamanti, 9 ottobre 2005-8 gennaio 2006</em>. Ferrara, Italy: Ferrara arte, 2005.", "page_number": "Mentioned and reproduced: p. 139, fig. 14", "url": null}, {"citation": "Pomare\u0300de, Vincent, and Michael Clarke. <em>Corot: naturaleza, emocio\u0301n, recuerdo</em>. Madrid, Spain: Museo Thyssen-Bornemisza, 2005.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 287", "url": ""}, {"citation": "Mazzocca, Fernando. \"Grand tour: Il fascino delle antiche rovine e lo splendore della natura mediterranea.\" Art e dossier no.392, Suppl.(November 2021): 27-35.", "page_number": "reproduced p.30", "url": ""}], "url": "https://clevelandart.org/art/1963.91", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_web.jpg", "width": "1245", "height": "893", "filesize": "777639", "filename": "1963.91_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_print.jpg", "width": "3400", "height": "2438", "filesize": "5590565", "filename": "1963.91_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_full.tif", "width": "5951", "height": "4267", "filesize": "76214120", "filename": "1963.91_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 140078, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1830\u201331", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["The Roman Campagna"], "is_highlight": true, "updated_at": "2026-07-01 11:21:40.365000"}}