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Corot in Italy: Open-Air Painting and the
Classical-Landscape Tradition
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Arriving in Rome in 1825, Corot spent three years painting and drawing the
landscape nearby. In their freshness and candour, his open-air studies seem
to point forward, toward Impressionism. Galassi shows that they also point to
the past. Half a century before Corot visited Italy, the community of foreign
artists at Rome had spawned a school of outdoor painting. Under the banner
of Neoclassicism, an international roster of artists - British, French, German,
Scandinavian - elaborated the experiment into a rich tradition, absorbing the
lessons of Poussin and Claude and appropriating the motifs of the
viewmakers. Corot's work marks the culmination of the tradition, the last,
flowering of the classical landscape ideal. Drawing on the efforts of scholars,
dealers, and collectors, Galassi establishes the coherence and significance of
early outdoor painting in Italy. Building on this foundation, he explores in
depth Corot's magnificent landscapes.