The French painter Camille Corot painted this painting in 1872 and it can now be seen in the 19th century painting rooms of the Museo Thyssen Bornemisza of Madrid.
Between 1870 and 1871 the Franco-Prussian War took place, and when the conflict ended Corot moved to Paris to live, and from there he undertook trips around. One of these journeys took him to Port Marly, in the valley of the Seine River. In that town he made three works, among them the one that we present here ofThe Park of the Lions of Port Marly
The Lion Park of Port Marly by Corot
The characters seen in these paintings are actually the sons of the friend whose house he stayed at during his stay
But more than the human figure, what he seeks to capture in this painting is the grandeur of nature, in this case an immense and lush forest, in which the men and women he paints serve as elements of scale, and to compare the natural dimensions and those of the tiny human figure in comparison. The goal of it is to present a colossal natural environment.
On the other hand, that same forest serves him to search through its thickness for an enormous amount of light effects, and therefore pictorial. Here we can see how the light filters between thethick vegetation, to illuminate the characters. Some figures that serve to give that landscape an anecdotal character.
In fact, Corot's great fame is due to being the creator of this type of “psychic landscapes”. He always brings to his works a fine lyricism and a most elegant harmony. An elegance based on his virtuous mastery to relate the different shades of color and his ability to materialize the different atmospheres that surround each of the landscapes. This can be seen in all of his pictorial production, whether in the works he made during his formative years in Italian lands, such as Memory of Italy, or in landscapes already made in his native France, such as El Puente de Nantes.
Corotactually interprets nature does not stop at a simple reproduction of the views he contemplates and paints. And he manages to bring to life the elements of that landscape with the different lights and shadows that he creates, much more elaborate than the details. He also manages to materially distance himself from the vision and instead is extremely close from a spiritual point of view to those landscapes.