Souvenir of Mortefontaine, 1864 by Jean-Baptiste-Camille Corot
Canvas Print - 3662-COR
Location: Louvre Museum, Paris, FranceOriginal Size: 65 x 89 cm
Giclée Canvas Print | $56.08 USD
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*Max printing size: 26 x 35.4 in
*Max framing size: Long side up to 28"
"Souvenir of Mortefontaine" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Souvenir of Mortefontaine" by Corot, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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All unframed art prints are delivered rolled up in secure postal tubes, ensuring their protection during transportation. Framed art prints, on the other hand, are shipped in cardboard packaging with additional corner protectors for added safety.
Painting Information
The immediately striking feature here is the painting’s hushed palette of greens, soft grays, and a lone flicker of pink. It avoids the theatrical drama of bright, clashing hues, favoring a gently modulated approach that edges towards the poetic. That flash of red in the woman’s skirt stands out like a subtle exclamation mark, encouraging us to linger on the figures before our gaze drifts back into the dreamy distance.
Then there’s the composition, which unfolds almost like a stage set. To the left, a slender tree trunk leans elegantly, leading us inwards toward the center, while on the right a sturdier pair of trunks arches overhead to envelop the characters in a soft, natural canopy. You’re funneled toward that mesmerizing slice of luminous water in the background—the real anchor of the piece, which hums with tranquil reflection.
Crucial to the painting’s power is the gentle yet deliberate brushwork. Those sweeping strokes suggest leaves, water, and sky without fussing over precise detail. It’s as though the artist is hinting at nature’s texture rather than trying to mimic every leaf, anticipating the Impressionists who would later seize upon these suggestions of atmosphere and light. Yet look closer at the silhouettes of the trunks: you’ll see a steadiness and clarity that nod back to the more realistic methods of earlier decades.
Historically, the artist found himself in a transitional moment. French painting was inching away from the anchored grit of Realism and toward the more ethereal tendencies that would blossom under Impressionism. Our painter here straddles both worlds: he retains a faithfulness to actual forms—evident in the well-defined figures and trees—yet also toys with the borderline-blurry edges of the foliage and that ethereal lake. It’s this tension between the real and the remembered that lends the canvas much of its quiet allure.
Finally, there is the scene itself. A woman, dressed in red, stands with two children in an arcadian spot, so still and pristine it might be a memory as much as an observation of reality. The tree-flanked lake beyond is brushed in such a way that it feels more like an echo of a cherished location than a direct depiction. Here, recollection triumphs over hard-line documentation, and the artist has composed an ode to a landscape shaped by reminiscence rather than strict fact.
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