Corot recorded form and tonal qualities in outdoor drawings and oil sketches, then executed his paintings in the studio. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting's highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot's early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin.
Paris, Musée Royal. Salon (1831), no. 399, La Cervara, campagne de Rome.
Art Institute of Chicago. Corot 1796-1875 (1960), no. 19, lent by Paul Rosenberg (repr.).
Edinburgh International Festival. Corot (1965), no. 18.
San Diego, Timken Art Gallery; Williamstown, Mass., Sterling and Francine Clark Art Institute. J.-B.-C. Corot: View of Volterra (1988), no. 9, 15; fig. 10.
Paris, Grand Palais; Ottawa, National Gallery of Canada; New York, Metropolitan Museum of Art. Corot 1796-1875 (1996-97), 22, 80-85; no. 30 (repr.) (not shown in Paris).
Galleria Nazionale d'Arte Moderna (3/5/2003 - 6/29/2003): "Maestá di Roma, da Napoleon all'Unita d'Italia: Roma Capitale delle Belle Arti ", figure V.6, p. 354.
Cleveland, Ohio: The Cleveland Museum of Art; February 20 - May 29, 2005. "Masterworks from The Phillips Collection". Not in exh. cat.
Museo Thyssen-Bornemisza, Madrid, Spain (6/7/2005 - 9/11/2005) and Palazzo dei Diamanti, Ferrara, Italy (10/9/2005 - 1/8/2006): 'Corot. Nature, Emotion, Souvenir"