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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 oil painting

Painting ID::  6069

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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
   
   
     

 

 

Claude Lorrain Italian Coastal Landscape dfb oil painting

Painting ID::  6070

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Claude Lorrain
Italian Coastal Landscape dfb
1642 Oil on canvas, 97 x 131 cm Staatliche Museen, Berlin
   
   
     

 

 

Claude Lorrain Imaginary View of Tivoli dfg oil painting

Painting ID::  6071

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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
   
   
     

 

 

Claude Lorrain Marine with the Trojans Burning their Boats dfg oil painting

Painting ID::  6072

X 
 

Claude Lorrain
Marine with the Trojans Burning their Boats dfg
1643 Oil on canvas, 105 x 152 cm Metropolitan Museum of Art, New York
   
   
     

 

 

Claude Lorrain Harbour Scene with Grieving Heliades dfg oil painting

Painting ID::  6073

X 
 

Claude Lorrain
Harbour Scene with Grieving Heliades dfg
c. 1640 Oil on canvas, 125,5 x 175,5 cm Wallraf-Richartz Museum, Cologne
   
   
     

 

 

Claude Lorrain Harbour Scene at Sunset fg oil painting

Painting ID::  6074

X 
 

Claude Lorrain
Harbour Scene at Sunset fg
1643 Oil on canvas, 74 x 99 cm Royal Collection, Windsor
   
   
     

 

 

Claude Lorrain Harbour Scene gf oil painting

Painting ID::  6075

X 
 

Claude Lorrain
Harbour Scene gf
Pen, grey-brown wash on blue paper, 190 x 259 mm British Museum, London
   
   
     

 

 

Claude Lorrain Ulysses Returns Chryseis to her Father vgh oil painting

Painting ID::  6076

X 
 

Claude Lorrain
Ulysses Returns Chryseis to her Father vgh
1648 Oil on canvas, 119 x 150 cm Mus??e du Louvre, Paris
   
   
     

 

 

Claude Lorrain Landscape with Shepherds   The Pont Molle fgh oil painting

Painting ID::  6077

X 
 

Claude Lorrain
Landscape with Shepherds The Pont Molle fgh
1645 Oil on canvas, 74 x 97 cm City Art Gallery, Birmingham
   
   
     

 

 

Claude Lorrain Landscape with Cephalus and Procris Reunited by Diana sdf oil painting

Painting ID::  6078

X 
 

Claude Lorrain
Landscape with Cephalus and Procris Reunited by Diana sdf
1645 Oil on canvas, 102 x 132 cm National Gallery, London
   
   
     

 

 

Claude Lorrain Landscape with Apollo Guarding the Herds of Admetus dsf oil painting

Painting ID::  6079

X 
 

Claude Lorrain
Landscape with Apollo Guarding the Herds of Admetus dsf
1645 Oil on cxanvas, 55 x 45 cm Galleria Doria-Pamphili, Rome
   
   
     

 

 

Claude Lorrain Port Scene with the Departure of Ulysses from the Land of the Feaci fdg oil painting

Painting ID::  6080

X 
 

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
   
   
     

 

 

Claude Lorrain Landscape with Shepherds fdg oil painting

Painting ID::  6081

X 
 

Claude Lorrain
Landscape with Shepherds fdg
1645-46 Oil on canvas, 68,8 x 91 cm Museum of Fine Arts, Budapest
   
   
     

 

 

Claude Lorrain Landscape with Dancing Figures dfgdf oil painting

Painting ID::  6082

X 
 

Claude Lorrain
Landscape with Dancing Figures dfgdf
1648 Oil on canvas, 149 x 197 cm National Gallery, London
   
   
     

 

 

Claude Lorrain Landscape with Dancing Figures (The Mill) vg oil painting

Painting ID::  6083

X 
 

Claude Lorrain
Landscape with Dancing Figures (The Mill) vg
1648 Oil on canvas, 150,6 x 197,8 cm Galleria Doria-Pamphili, Rome
   
   
     

 

 

Claude Lorrain Landscape with Dancing Figures (detail) dfg oil painting

Painting ID::  6084

X 
 

Claude Lorrain
Landscape with Dancing Figures (detail) dfg
1648 Oil on canvas Galleria Doria-Pamphili, Rome
   
   
     

 

 

Claude Lorrain Landscape with Rest in Flight to Egypt fg oil painting

Painting ID::  6085

X 
 

Claude Lorrain
Landscape with Rest in Flight to Egypt fg
1647 Oil on canvas, 102 x 134 cm Gemäldegalerie, Dresden
   
   
     

 

 

Claude Lorrain Seaport with the Embarkation of the Queen of Sheba df oil painting

Painting ID::  6086

X 
 

Claude Lorrain
Seaport with the Embarkation of the Queen of Sheba df
1648 Oil on canvas, 148 x 194 cm National Gallery, London
   
   
     

 

 

Claude Lorrain Landscape with Paris and Oenone fdg oil painting

Painting ID::  6087

X 
 

Claude Lorrain
Landscape with Paris and Oenone fdg
1648 Oil on canvas, 119 x 150 cm Mus??e du Louvre, Paris
   
   
     

 

 

Claude Lorrain The Rape of Europa sd oil painting

Painting ID::  6088

X 
 

Claude Lorrain
The Rape of Europa sd
1655 Oil on canvas, 100 x 137 cm Pushkin Museum, Moscow
   
   
     

 

       Prev    1  2  3  4  5  6  7  8  9  10     Next

 

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"