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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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Claude Lorrain 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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Claude Lorrain The Disembarkation of Cleopatra at Tarsus dfg 1642-43
Oil on canvas, 119 x 170 cm
Mus??e du Louvre, Paris
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Claude Lorrain Italian Coastal Landscape dfb 1642
Oil on canvas, 97 x 131 cm
Staatliche Museen, Berlin
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Claude Lorrain Imaginary View of Tivoli dfg 1642
Oil on canvas, 21,6 x 25,8 cm
Courtauld Institute Galleries, London
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Claude Lorrain Marine with the Trojans Burning their Boats dfg 1643
Oil on canvas, 105 x 152 cm
Metropolitan Museum of Art, New York
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Claude Lorrain Harbour Scene with Grieving Heliades dfg c. 1640
Oil on canvas, 125,5 x 175,5 cm
Wallraf-Richartz Museum, Cologne
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Claude Lorrain Harbour Scene at Sunset fg 1643
Oil on canvas, 74 x 99 cm
Royal Collection, Windsor
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Claude Lorrain Harbour Scene gf Pen, grey-brown wash on blue paper, 190 x 259 mm
British Museum, London
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Claude Lorrain Ulysses Returns Chryseis to her Father vgh 1648
Oil on canvas, 119 x 150 cm
Mus??e du Louvre, Paris
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Claude Lorrain Landscape with Shepherds The Pont Molle fgh 1645
Oil on canvas, 74 x 97 cm
City Art Gallery, Birmingham
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Claude Lorrain Landscape with Cephalus and Procris Reunited by Diana sdf 1645
Oil on canvas, 102 x 132 cm
National Gallery, London
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Claude Lorrain Landscape with Apollo Guarding the Herds of Admetus dsf 1645
Oil on cxanvas, 55 x 45 cm
Galleria Doria-Pamphili, Rome
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Claude Lorrain Port Scene with the Departure of Ulysses from the Land of the Feaci fdg 1646
Oil on canvas, 119 x 150 cm
Mus??e du Louvre, Paris
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Claude Lorrain Landscape with Shepherds fdg 1645-46
Oil on canvas, 68,8 x 91 cm
Museum of Fine Arts, Budapest
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Claude Lorrain Landscape with Dancing Figures dfgdf 1648
Oil on canvas, 149 x 197 cm
National Gallery, London
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Claude Lorrain Landscape with Dancing Figures (The Mill) vg 1648
Oil on canvas, 150,6 x 197,8 cm
Galleria Doria-Pamphili, Rome
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Claude Lorrain Landscape with Dancing Figures (detail) dfg 1648
Oil on canvas
Galleria Doria-Pamphili, Rome
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Claude Lorrain Landscape with Rest in Flight to Egypt fg 1647
Oil on canvas, 102 x 134 cm
Gemäldegalerie, Dresden
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Claude Lorrain Seaport with the Embarkation of the Queen of Sheba df 1648
Oil on canvas, 148 x 194 cm
National Gallery, London
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Claude Lorrain Landscape with Paris and Oenone fdg 1648
Oil on canvas, 119 x 150 cm
Mus??e du Louvre, Paris
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Claude Lorrain The Rape of Europa sd 1655
Oil on canvas, 100 x 137 cm
Pushkin Museum, Moscow
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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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