The illustrious landscape painter painted portraits throughout his life, although this area of his work was almost unknown to his contemporaries, for Korot did not show them at the Salon.
As portrait painter Corot debuts in the 1830s. This is the time of creating a series of portraits of nieces – young ladies Sennegon. Only one of the girls turns sixteen, a kind uncle takes up the brush and palette. He sits the next niece in a calm pose, forcing her to lean on something – the edge of the table, the turf bench – and he writes in a generalized and broad manner, without detailing or splintering the form.
One of the most captivating and living among these works is “The Portrait of Octavia Signegon.” And a cunning facial expression, and a pose in which, despite forced inactivity, you see restlessness, talk about the character of the sociable and inquisitive. Octavia poses Koro in a modest casual dress. His wide, gathered at the top, according to the fashion of the time, his sleeves, his large collar, set off the fragility of the figure, which preserved a lot of children.
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