David Pierce,
Brian E. Denton


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.

One clap, two clap, three clap, forty?

By clapping more or less, you can signal to us which stories really stand out.