As evidence of the degree to which Cot was ignored, I can cite two books from a shelf in my library/studio: both the 2003 edition of the "Oxford Concise Dictionary of Art & Artists" and Penguin's 1997 edition of "Dictionary of Art and Artists" ignore Cot completely.
Even the Internet lacks information regarding Cot, so you'll just have to make do with this and this.
Despite all that, rising tides do what they do, so I suspect Cot's reputation is improving along with those of other non-modernist artists active in the second half of the nineteenth century. Aiding Cot are two paintings (see below) that have retained their popularity among the Great Unwashed in Flyover Country, if not amongst the cognoscenti of the Transgressive. But then, might becoming a Cot fan become the next new Transgressive? That's how things often work out, you know.
No people shown here aside from the small figure at the upper left, so Cot's painting style was comparatively loose. It might even be more of a sketch than a finished work.
This is one of Cot's paintings that retained popularity.
A nice portrait suggesting a slight drift from the purely Academic.
This is probably Cot's most famous painting. It is owned by New York's Metropolitan Museum of Art.
Cot was a highly skilled artist who was to a large degree a creature of his times. Whereas I can't say that I love his works, I do respect them, cutting him some slack regarding subject matter popular in an era out of synch from when my tastes were formed.
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