1796-1875 was a French landscape painter and printmaker in etching. Corot was the leading painter of the Barbizon school of France in the mid-nineteenth century. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism. Camille Corot was born in Paris in 1796, in a house at 125 Rue du Bac, now demolished. His family were bourgeois people his father was a wigmaker and his mother a milliner and unlike the experience of some of his artistic colleagues, throughout his life he never felt the want of money, as his parents made good investments and ran their businesses well. After his parents married, they bought the millinery shop where she had worked and he gave up his career as a wigmaker to run the business side of the shop. The store was a famous destination for fashionable Parisians and earned the family an excellent income. Corot was the middle of three children born to the family, who lived above their shop during those years. Corot received a scholarship to study in Rouen, but left after having scholastic difficulties and entered a boarding school. He was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, before 1815 Corot showed no such interest. During those years he lived with the Sennegon family, whose patriarch was a friend of Corot's father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature. At nineteen, Corot was a big child, shy and awkward. He blushed when spoken to. Before the beautiful ladies who frequented his mother's salon, he was embarrassed and fled like a wild thing Emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corot's parents moved into a new residence in 1817, the twenty-one year old Corot moved into the dormer-windowed room on the third floor, which became his first studio as well. With his father's help he apprenticed to a draper, but he hated commercial life and despised what he called "business tricks", yet he faithfully remained in the trade until he was 26, when his father consented to his adopting the profession of art. Later Corot stated, I told my father that business and I were simply incompatible, and that I was getting a divorce. The business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and began immediately with landscapes  Related Paintings of Jean-Baptiste Corot :. | The Family of Neil 3rd Earl of Rosebery in the grounds of Dalmeny House | Bierstadt Albert Sacramento River Valley | View over Hallsnas mansion | The Evening of the Deluge | Joachim II, Electoral Prince of Brandenburg |
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Nicholas Chevalier
Russia landscape artists and cartoonist . 1828-1902 was an Australian artist. Chevalier was born in St Petersburg, Russia, the son of Louis Chevalier, who came from Vaud, Switzerland, and was overseer to the estates of the Prince de Wittgenstein in Russia. Nicholas' mother was Russian. Nicholas left Russia with his father in 1845, and studied painting and architecture in Lausanne, Switzerland and at Munich. In 1851 Chevalier moved to London and worked as an illustrator in lithography and water-colour. He also designed a fountain which was erected in the royal grounds at Osborne, and two of his paintings were hung at the Academy in 1852. Further study in painting followed at Rome. About the end of 1854 Chevalier sailed from London to Australia to join his father and brother, and in August 1855 obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromo-lithography. In 1864, when the National Gallery of Victoria was founded, an exhibition of pictures by Victorian artists was held, the government underook to buy the best picture exhibited for £200. Chevalier's oil painting "The Buffalo Ranges" was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1867 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined the H.M.S. Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his headquarters and was a constant exhibitor at the Academy from 1871 to 1887.
Jean-Baptiste Lallemand
(1716-1803) was a French artist born in Dijon. He was mainly a painter and draftsman of landscapes and genre works. He sometimes signed himself Lallemant or Allemanus.After a stay in Italy, he went to Paris and became a member of the Academie de Saint-Luc. He died in Paris. The Musee des Beaux-Arts de Dijon owns many of his works, including a drawing and a painting showing the Château de Montmusard. His works also feature in the collections of the Musee Carnavalet and the Cabinet des estampes of the Bibliotheque nationale, both in Paris.
James Joseph Jacques Tissot
James Jacques Joseph Tissot (15 October 1836 - 8 August 1902) was a French painter, who spent much of his career in Britain. Tissot was born in Nantes, France. In about 1856, he began study at the École des Beaux-Arts in Paris under Hippolyte Flandrin and Lamothe, and became friendly with Edgar Degas and James Abbott McNeill Whistler. Tissot exhibited in the Paris Salon for the first time in 1859, two portraits of women and three scenes in medieval dress from Faust. The latter show the influence of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom he had met in Antwerp in 1859. In the mid-1860s, however, Tissot began to concentrate on depicting women, often although not always shown in modern dress. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored japonisme, including Japanese objects and costumes in his pictures. A portrait of Tissot by Degas from these years (Metropolitan Museum of Art, New York) shows him with a Japanese screen hanging on the wall.