Camille Corot, 1871 - Otu nwanyị na-achịkọta Fagots na Ville-dAvray - mbipụta nka mara mma.

Ihe nka A Woman Gathering Faggots at Ville-dAvray kere onye omenkà nke oge a Camille Corot dị ka ihe osise nke gị

Na narị afọ nke 19 a na-akpọ A Woman Gathering Faggots at Ville-dAvray onye na-ese ihe mere ya Camille Corot. The version of the piece of art had the size of 28 3/8 x 22 1/2 na (72,1 x 57,2 cm). Mmanụ na kwaaji was used by the French painter as the technique for the masterpiece. This piece of art is in the the Ụlọ ihe ngosi nka nke Metropolitan digital art collection. With courtesy of: The Metropolitan Museum of Art, New York, Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917 (ikike ngalaba ọha). The creditline of the artpiece is: Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917. On top of that, alignment is Eserese na a akụkụ ruru nke 3: 4, meaning that the length is 25% shorter than the width. Camille Corot was a male painter from France, whose artistic style can primarily be attributed to Realism. The Realist artist was born in 1796 ma nwụọ na afọ nke 79 na 1875.

Ozi mgbakwunye sitere na ihe ngosi nka (© Nwebiisinka - nke Ụlọ ihe ngosi nka nke Obodo ukwu - Museumlọ ihe ngosi nka nke Obodo)

Ville-d’Avray, a town on the outskirts of Paris where Corot’s family had owned a house and property since 1817, was among the artist's favorite motifs. This work is one of several paintings of the property's pond seen through a delicate screen of trees that he made in his later years. The silvery, cool tonality may have been influenced by Corot’s study of the contemporary medium of photography. The blurred appearance of the trees in the foreground, for example, is similar to the effect of foliage in motion as captured in nineteenth-century photographs.

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