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Claude Lorrain Seehafen beim Aufgang der Sonne 2nd third of 17th century
72 x 97 cm (28.35 x 38.19 in)
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Claude Lorrain Verstobung der Hagar 1668
107 x 140 cm (42.13 x 55.12 in)
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Claude Lorrain Port Scene with the Embarkation of St Ursula Oil on canvas
113 ?? 149 cm (44.49 ?? 58.66 in)
1641
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Claude Lorrain seaport with the embarkation of the queen of sheba 1648 oil on canvas 148.6x193.7cm
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Claude Lorrain landscape with jacob and laban and his daughters 1654 oil on canvas 143.5x252cm
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Claude Lorrain chamagne 1640-41
olja pa duk 60.5x80
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Claude Lorrain Coast Scene with Europa and the Bull oil on canvas painting by Claude Lorrain
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Claude Lorrain Verstobung der Hagar Medium Oil on canvas
Dimensions 0107 X 140 cm
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Claude Lorrain Seehafen beim Aufgang der Sonne Medium Oil on canvas
Dimensions 72 X 97 cm
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Claude Lorrain Port Scene with the Embarkation of St Ursula Medium Oil on canvas
Dimensions 113 X 149 cm
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Claude Lorrain Egeria weeps over Numa 1669
Oil on canvas
155 X 200 cm
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Claude Lorrain Egeria beweint Numa Date 1669
Medium Oil on canvas
Dimensions Deutsch: 155 X 200 cm
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Claude Lorrain The Judgment of Paris The Judgment of Paris, oil on canvas painting by Claude Lorrain, 1645-1646, National Gallery of Art, Washington
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Claude Lorrain Belagerung von La Rochelle durch die Truppen Ludwigs XIII., Oval 1631(1631)
Oil on canvas
28 ?? 42 cm
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Claude Lorrain The Judgment of Paris oil on canvas painting by Claude Lorrain, 1645-1646, National Gallery of Art, Washington
Date 1645-6
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Claude Lorrain Belagerung von La Rochelle durch die Truppen Ludwigs XIII 1631(1631)
Medium Oil on canvas
Dimensions Deutsch: 28 x 42 cm
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Claude Lorrain Hafen beim Sonnenuntergang c. 1649
Oil on canvas
97 x 119 cm
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Claude Lorrain The Judgement of Paris 1645-1646
Medium Oil on canvas
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Claude Lorrain Vedute von Delphi mit einer Opferprozession Oil on canvas
Dimensions 150 x 200 cm
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Claude Lorrain 2nd third of 17th century Oil on canvas
Dimensions 150 x 200 cm
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Claude Lorrain
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French
1600-1682
Claude Lorrain Galleries
In Rome, not until the mid-17th century were landscapes deemed fit for serious painting. Northern Europeans, such as the Germans Elsheimer and Brill, had made such views pre-eminent in some of their paintings (as well as Da Vinci in his private drawings or Baldassarre Peruzzi in his decorative frescoes of vedute); but not until Annibale Carracci and his pupil Domenichino do we see landscape become the focus of a canvas by a major Italian artist. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Landscape as a subject was distinctly unclassical and secular. The former quality was not consonant with Renaissance art, which boasted its rivalry with the work of the ancients. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. Rome, the theological and philosophical center of 17th century Italian art, was not quite ready for such a break with tradition.
In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography.
Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. The painter Joachim von Sandrart is an authority for Claude's life (Academia Artis Pictoriae, 1683); Baldinucci, who obtained information from some of Claude's immediate survivors, relates various incidents to a different effect (Notizie dei professoni del disegno).
John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude??s landscape "all is lovely ?C all amiable ?C all is amenity and repose; the calm sunshine of the heart"
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