The inclination to the panoramic turns appeared in Korot very early, already in the middle of the 1820s in the landscapes of Rome and its environs: “Lake Albano and Castel Gandolfo”; “Roman Campania with the Tiber”.
Such compositions followed the French tradition of the 18th century, when a very wide angle of view was combined with the intimacy of the rococo feeling. You can, in particular. remember such pictures, in all probability. known Koro as “View of the Vincennes Castle from Montreuil” by LG Moreau St. or landscapes of Valenciennes.
In small sunny panoramas, Corot found something directly opposite to the mysterious, cloud-covered forest corners, whose images are devoted to a significant part of his painting. Going out into space, he seemed to have acquired a special balance of mind. From time to time on trips to France he was attracted by the fascinating and soft turns of the river valleys, like those that are embodied in the paintings “Rouen, Panorama of the Seine Valley” or “Landscape with distant horizons.
Features of the composition and methods of writing the latter recalls “Landscape with a boy in a white shirt.” A remarkable property of this and similar landscapes is the artist’s closeness to nature, genuine intimacy of feeling. This feeling is distinguished by the so-called lyrical landscapes created in the studio, but it also manifested itself in things written on the nature. However, although this picture depicts a particular kind, most likely it was not written in an open air, but in a workshop.
In favor of this assumption may indicate the use of a technique, trained on lyrical landscapes. It is to revive the beautiful, low-key landscape environment with a small, brighter spot.
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