“Stop to appreciate this serene etching, a "souvenir" of Italy that blends natural observation with an idealized vision of the landscape, capturing a sense of tranquil beauty through delicate lines and soft tones.”
This etching invites us into a tranquil Italian landscape, a scene Corot created after his formative years studying abroad. While the title suggests Tuscany, the impression of rolling hills, scattered trees, and distant structures evokes a generalized sense of idyllic Italian countryside rather than a specific, recognizable location. The artist's hand is evident in the delicate lines that build up the textures of the foliage and the soft gradations of light and shadow across the terrain. Notice how the composition guides your eye from the foreground figures to the middle ground village, and then to the hazy mountains beyond, creating a sense of depth and expansive space. The work reflects a blend of observational sketching, a practice he honed during his time in Italy, and the more idealized compositions favored by the Neoclassical tradition.
- Artist
- Jean Baptiste Camille Corot
- Date
- 1845
- Medium
- Etching on ivory laid paper
- Location
- Art Institute of Chicago
- Dimensions
- Image: 12.2 × 17.9 cm (4 13/16 × 7 1/16 in.); Plate: 13.3 × 18.2 cm (5 1/4 × 7 3/16 in.); Sheet: 25 × 34 cm (9 7/8 × 13 7/16 in.)
- Collection
- Prints and Drawings
- Culture
- France
- Credit line
- Elizabeth Hammond Stickney Collection
What to Notice
Five details hide in plain sight. Here’s where to look.

The tiny figures in the foreground on the path.
The village nestled among the trees in the middle distance.
The soft, feathery quality of the trees and foliage.
The subtle variations in light and shadow across the landscape.
1 more detail is waiting.
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Jean Baptiste Camille Corot
Jean-Baptiste-Camille Corot, a pivotal French landscape painter, masterfully bridged Neo-Classicism with the emerging plein-air innovations of Impressionism.
Further Works by Corot
More from Naturalism
More works to explore
Beyond Corot and Naturalism: works from the same years, and from the other movements Souvenir of Tuscany belongs to.
Same movement · Barbizon school
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1830s–1860s
The Cottage by the Roadside, Stormy Sky
Léon-Victor Dupré · 1855 · Art Institute of Chicago
Same movement · Barbizon school
Woman Feeding Chickens
Jean-François Millet · 1850 · Art Institute of Chicago
Same era · 1830s–1860s
Snow Storm: Steam-Boat off a Harbour's Mouth
J. M. W. Turner · 1842 · National Gallery
Same era · 1830s–1860s
Arab Horseman Attacked by a Lion
Eugène Delacroix · 1849 · Art Institute of Chicago
Same era · 1830s–1860s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1830s–1860s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1830s–1860s
Portrait of a Woman, Called Héloïse Abélard
Gustave Courbet · 1850 · The Metropolitan Museum of Art
Same era · 1830s–1860s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1830s–1860s
The Sheepshearers
Jean-François Millet · 1857 · Art Institute of Chicago
Same era · 1830s–1860s
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1830s–1860s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1830s–1860s
Portrait of Fred Adelbert Haywood
School of William Matthew Prior · 1848 · Art Institute of Chicago
Same era · 1830s–1860s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago




