What pictures to see in America (1915) (14597335190)

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What pictures to see in America (1915) (14597335190)

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Identifier: whatpicturestoseea00brya (find matches)
Title: What pictures to see in America
Year: 1915 (1910s)
Authors: Bryant, Lorinda Munson, 1855-1933
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Publisher: New York, J. Lane Co.
Contributing Library: New York Public Library
Digitizing Sponsor: MSN



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Fig. 11—Dante and Virgil. Corot. Boston, Museum of Fine Arts. BOSTON 43 trodden; but it does mean that digging andgrubbing, sowing and churning, harvesting andspinning to make a Uving are tasks that bowthe shoulders and bend the back and causephysical aches and pains. Doubtless the har-vesters gathered against the great straw stackshave expressed themselves as tired, but whata splendid tired it is! Their bodies bend andstretch and twist like sturdy oaks tried by thestorms and stress of countless days of ex-posure. There is, however, no lack of interestin the resting group concerning the little epi-sode of the standing man and girl—whateverit is. The warmth of the personal touch drawsus very close to these peasants. Millet deals with the elemental verities oflife. Stop a moment and look at *The Shep-herdess. Yes, she does look stupid! But allday long through numberless days she haswatched those sheep alone. She is simply achild of nature as she sits there on the hill-top. If she we

Born in Paris, Corot trained as a draper before deciding to pursue art. He studied under several prominent artists, including Jean-Victor Bertin and Achille Etna Michallon. Corot is best known for his landscape paintings, which often feature soft, hazy atmospheres and delicate, muted colours. He was particularly interested in capturing the effects of light and atmosphere in his work. Corot's style was influenced by both the classical landscape tradition and the Romantic movement. In addition to his landscapes, Corot also painted portraits and figure studies. He was a prolific artist, producing over 3,000 paintings during his lifetime. Corot's work was not always well received by critics during his lifetime, but he gained recognition and popularity in the later years of his career. He is now regarded as one of the most important French landscape painters of the 19th century.

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1915
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New York Public Library
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public domain

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