Realism · 1796–1875 · French

Jean-Baptiste-Camille Corot

Across 3 works, the colors are mostly gray (39%), brown (28%) and black (11%). On average the canvases are light, muted and warm. Signature colors, used far more here than across the collection: pale slate, pale grey, light grey, silver and dark muted lime green.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 222 charcoal 8.6% of canvas
• MG 212 pale grey 8.1% of canvas
• MG 213 light grey 7.5% of canvas
• MG 207 pale slate 6.7% of canvas
• MG 218 graphite 5.7% of canvas
• MG 206 silver 5.2% of canvas
• MG 217 iron 3.9% of canvas
• MG 175 stone 3.9% of canvas
• MG 176 taupe 3.8% of canvas
• MG 208 pigeon grey 3.4% of canvas
• MG 214 pewter 3.2% of canvas
• MG 174 warm grey 3.0% of canvas
• MG 059 dark muted lime green 2.8% of canvas
• MG 172 oatmeal 2.4% of canvas
• MG 058 muted green 2.2% of canvas
• MG 173 putty 1.8% of canvas

Measurements

Lightness

0.58

Contrast

0.58

Vividness

0.024

Warmth

+0.36

Complexity

184 cells

Hue range

0.55

Focus

0.04

Composition

Averaged over 3 works: 54% of the visual weight in the right half, 55% in the upper half; symmetry 0.36; 35% calm space; half of the detail in 28% of the canvas. Measured from each image, not a rule the painters followed.

Works

• The Bridge at Narni, 1826
• The road from Sèvres to Paris, c. 1855
• Femme Lisant, 1869