I have long liked Corot, from growing up seeing him in the National Gallery in Washington. All of his works there are good (almost by definition, since a founding principle of the Gallery is that only excellent pieces can be accepted as donations). I particularly like both the early Bridge on the Saône River at Mâcon
and the late Ville-d’Avray.
The Corot that you (Brian E. Denton) shared, The Muse: History, is evidently lovely. It shows a figure whose solidity one can feel. But what about the background? The painting does seem to share (what I think is) a difficulty of a later Impressionist work, Degas’s Four Dancers, in which the dancers stand against a stage backdrop, but this is hard to tell, because of the fuzzy impressionistic style.