Diana and Actaeon (Diana Surprised in Her Bath), previewed as a 16 by 20 inch giclée reproduction.

Look closer

See it on a wall

Jean Baptiste Camille Corot

French, 1796–1875

Diana and Actaeon (Diana Surprised in Her Bath)1836

Oil on canvas

61 5/8 x 44 3/8 in. (156.5 x 112.7 cm)

Courtesy of The Metropolitan Museum of Art · 1975.1.162

In a shaded forest pool, the goddess Diana and her nymphs are bathing when the hunter Actaeon stumbles upon them; for this glimpse she will turn him into a stag, to be torn apart by his own hounds. More about this work

See it in the galleries

Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size
Size
16 × 20 in · image 12¾ × 17½
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

Made to order and shipped within the United States in about a week. Tax and shipping are added at checkout.

Download the full-resolution file, free · public domain, no account needed

About this work

In a shaded forest pool, the goddess Diana and her nymphs are bathing when the hunter Actaeon stumbles upon them; for this glimpse she will turn him into a stag, to be torn apart by his own hounds. Corot shows the story from Ovid on a small scale within a broad, carefully structured landscape, the kind of classical composition he submitted to the Salon in the 1830s. The figures are placed among tall trees and still water, so that the drama remains part of nature.

Written by Ochre Editions.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

Jean Baptiste Camille Corot

French, 1796–1875 · Born and died in Paris.

Corot trained with the landscape painters Achille-Etna Michallon and Jean-Victor Bertin, then spent 1825–28 in Italy, where his small oil sketches of Rome and the Campagna caught its clear light with great economy. He returned to Italy twice and travelled widely in France. His Salon pictures moved from classical landscape to the silvery, misty reveries that made him famous in the 1850s and 1860s, and late in life he painted thoughtful figure studies of models in costume.

Written by Ochre Editions.

See all 9 works by Jean Baptiste Camille Corot

Rights and the museum’s record

Public domain. The Met has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1975.1.162
Credit
Courtesy of The Metropolitan Museum of Art
Type
Paintings
Department
Robert Lehman Collection
Report this work

Tell us if this image shouldn't be here, or if its record is wrong. A person reads every report.

What's the concern?

More by Jean Baptiste Camille Corot

All their works

Sibylle

Jean Baptiste Camille Corot, ca. 1870

Close in colour