This book gives a subtle view of Corot’s modernism and new consideration to its roots in neoclassical tradition. Although Corot was considered an open-air artist, he spent more time working in his studio, distancing himself from the subjects he sketched sur le motif – in nature. What was his training and what can be said of his taste? What influence did Italy have on his oeuvre? What is the profile of his contemporary collectors and how can his circle of friends be described? Do such questions enable us to reformulate the problems of attribution and dating?