CCII
I don't know if Corot is not greater than Delacroix. Corot is the father of modern landscape. There is no landscape painter of to-day who—knowingly or not—does not derive from him. I have never seen a picture of Corot's which was not beautiful, or a line which did not mean something.
Among modern painters it is Corot who as a colourist has most in common with Rembrandt. The colour scheme is golden with the one and grey with the other throughout the whole harmony of tones. In appearance their methods are the opposite of each other, but the desired result is the same. In a portrait by Rembrandt all details melt into shadow in order that the spectator's gaze may be concentrated on a single part, often the eyes, and this part is handled more caressingly than the rest.
Corot, on the other hand, sacrifices the details which are in the light—the extremities of trees, and so on—and brings us always to the spot which he has chosen for his main appeal to the spectator's eye.
Dutilleux.
CCIII
Landscape has taken refuge in the theatre; scene-painters alone understand its true character and can put it into practice with a happy result. But Corot?
Oh that man's soul rebounds like a steel spring; he is no mere landscape painter, but an artist—a real artist, and rare and exceptional genius.