20th-century art historians chose to concentrate on certain specific aspects of Corot’s extensive œuvre. He was thus seen as either the heir of Neo-classical landscape or as a forerunner of Impressionism, interpreted from the starting-point of his realist landscapes or, in contrast, through his most refined, highly-worked Salon pieces. The present exhibition aims to focus on all these different aspects without opting for any one in particular. In addition, its intention is to act as a point of departure for a revision and reassessment of an aspect of his work which has been relatively passed over by critics but to which Corot owed his fame in the 19th century: the so-called Souvenirs (Recollections).