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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 Punishment of Midas oil painting

Painting ID::  6089

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Claude Lorrain
The Punishment of Midas
c. 1620 Copper, 43 x 62 cm Rijksmuseum, Amsterdam
   
   
     

 

 

Claude Lorrain View of a Port with the Capitol (mk05) oil painting

Painting ID::  20530

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Claude Lorrain
View of a Port with the Capitol (mk05)
Canvas 22 x 28 1/4 ''(56 x 72 cm)Seized in the Revolution from the collection of the Duc de Brissac
   
   
     

 

 

Claude Lorrain View of the Campo Vaccino ()mk05 oil painting

Painting ID::  20531

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Claude Lorrain
View of the Campo Vaccino ()mk05
Canvas 22 x 28 1/4''(56 x 72 cm)Seized in the Revolution from the collection of the Brissac INV
   
   
     

 

 

Claude Lorrain Ulysses Returns Chryseis to Her Father (mk05) oil painting

Painting ID::  20532

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Claude Lorrain
Ulysses Returns Chryseis to Her Father (mk05)
Canvas,47 x 59''(119 x 150 cm)Acquired by Louis XIV from the Duc de Richelieu in 1665
   
   
     

 

 

Claude Lorrain Landscape with Cephalus and Procris reunited by Diana (mk08) oil painting

Painting ID::  21580

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Claude Lorrain
Landscape with Cephalus and Procris reunited by Diana (mk08)
1645 Oil on canvas 102x132cm London,National Gallery
   
   
     

 

 

Claude Lorrain Landscape with Apollo and Mercury (mk08) oil painting

Painting ID::  21581

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Claude Lorrain
Landscape with Apollo and Mercury (mk08)
C.1645 Oil on canvas. 55x45cm Rome,Galleria Doria-Pamphilj
   
   
     

 

 

Claude Lorrain Seaport at Sunrise (mk08) oil painting

Painting ID::  21583

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Claude Lorrain
Seaport at Sunrise (mk08)
1674 Oil on canvas 72x96cm Munich,Bayerische Staatsgemalde-sammlungen,Alte Pinakothek
   
   
     

 

 

Claude Lorrain St Peter's (mk17) oil painting

Painting ID::  22172

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Claude Lorrain
St Peter's (mk17)
1630/35 Pen drawing and wash.Teylers Museum,Haarlem
   
   
     

 

 

Claude Lorrain St Peter's,Rome (mk17) oil painting

Painting ID::  22173

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Claude Lorrain
St Peter's,Rome (mk17)
1640/41 Chalk drawing and ink wash.British Museum,London
   
   
     

 

 

Claude Lorrain Rome with St Peter's (mk17) oil painting

Painting ID::  22174

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Claude Lorrain
Rome with St Peter's (mk17)
1646 Brush drawing.British Museum,London 21.2 x 31.4 cm
   
   
     

 

 

Claude Lorrain View on the Capitoline Hill,Rome (mk17) oil painting

Painting ID::  22175

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Claude Lorrain
View on the Capitoline Hill,Rome (mk17)
1635/40 Pen drawing and wash British Museum,London 20.3 x 26.6 cm
   
   
     

 

 

Claude Lorrain Christmas Procession at S.Maria Maggiore,Rome (mk17) oil painting

Painting ID::  22176

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Claude Lorrain
Christmas Procession at S.Maria Maggiore,Rome (mk17)
1674 Pen and ink.British Museum ,London
   
   
     

 

 

Claude Lorrain Landscape with Figures Before (mk17) oil painting

Painting ID::  22177

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Claude Lorrain
Landscape with Figures Before (mk17)
Pen drawing and wash.British Museum,London 14.9 x 20.9 cm
   
   
     

 

 

Claude Lorrain Civitavecchia (mk17) oil painting

Painting ID::  22178

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Claude Lorrain
Civitavecchia (mk17)
C 1638 Pen drawing and wash Kupferstichkabinett,Staatliche Museen,Berlin
   
   
     

 

 

Claude Lorrain Two Frigates (mk17) oil painting

Painting ID::  22179

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Claude Lorrain
Two Frigates (mk17)
1638/39 Pen drawing and wash.The Art Institute of Chicago
   
   
     

 

 

Claude Lorrain Two Boats (mk17) oil painting

Painting ID::  22180

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Claude Lorrain
Two Boats (mk17)
1635/50 Chalk drawing and ink wash.British Museum,London
   
   
     

 

 

Claude Lorrain A Brook in Subiaco (mk17) oil painting

Painting ID::  22181

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Claude Lorrain
A Brook in Subiaco (mk17)
1637 Brush drawing British Museum,London 23.8 x 39.5 cm
   
   
     

 

 

Claude Lorrain View of the Sasso (mk17) oil painting

Painting ID::  22182

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Claude Lorrain
View of the Sasso (mk17)
Pen and ink.The Art Institute of Chicago 16.2 x 40.2 cm
   
   
     

 

 

Claude Lorrain Wooded View (mk17) oil painting

Painting ID::  22183

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Claude Lorrain
Wooded View (mk17)
1635/40 Chalk drawing and ink wash Graphische Sammlung,Albertina,Vienna 22.5 x 32.5 cm
   
   
     

 

 

Claude Lorrain River View with Trees (mk17) oil painting

Painting ID::  22184

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Claude Lorrain
River View with Trees (mk17)
1635/40 Brush drawing,heightened with white Museum of Fine Arts,Boston 32.8 x 21.8 cm
   
   
     

 

       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"