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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 Landscape with Psyche at the Palace of Cupid (mk17) oil painting

Painting ID::  22225

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Claude Lorrain
Landscape with Psyche at the Palace of Cupid (mk17)
c 1664 Oil on canvas.National Gallery,London 88.5 x 152.7 cm
   
   
     

 

 

Claude Lorrain Landscape with Abraham Expelling Hagar (mk17) oil painting

Painting ID::  22226

X 
 

Claude Lorrain
Landscape with Abraham Expelling Hagar (mk17)
1668 Oil on canvas.Alte Pinakothek,Munich 106 x 140 cm
   
   
     

 

 

Claude Lorrain Landscape with Hagar and Ishmael in the Desert (mk17) oil painting

Painting ID::  22227

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Claude Lorrain
Landscape with Hagar and Ishmael in the Desert (mk17)
1668 Oil on canvas.Alte Pinakothek,Munich 106 x 140 cm
   
   
     

 

 

Claude Lorrain Nocturnal Landscape with Jacob and the Angel (mk17) oil painting

Painting ID::  22228

X 
 

Claude Lorrain
Nocturnal Landscape with Jacob and the Angel (mk17)
1672 Oil on canvas.The Hermitage Museum,St Petersburg 116 x 159 cm
   
   
     

 

 

Claude Lorrain Landscape with Aeneas on Delos (mk17) oil painting

Painting ID::  22229

X 
 

Claude Lorrain
Landscape with Aeneas on Delos (mk17)
1672 Oil on canvas.National Gallery,London 100 x 134 cm
   
   
     

 

 

Claude Lorrain View of Delphi with a Procession (mk17) oil painting

Painting ID::  22230

X 
 

Claude Lorrain
View of Delphi with a Procession (mk17)
1673 Oil on canvas.The Art Institute of Chicago 101.7 x 127.3 cm
   
   
     

 

 

Claude Lorrain Landscape with Ascanius Shooting the Stag (mk17) oil painting

Painting ID::  22231

X 
 

Claude Lorrain
Landscape with Ascanius Shooting the Stag (mk17)
1682 Oil on canvas.Ashmolean Museum,Oxford 120 x 150 cm
   
   
     

 

 

Claude Lorrain Port of Ostia with the Embarkation of St Paula (mk17) oil painting

Painting ID::  22232

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Claude Lorrain
Port of Ostia with the Embarkation of St Paula (mk17)
1639/40 Oil on canvas Museo del Prado,Madrid 211 x 145 cm
   
   
     

 

 

Claude Lorrain Rest on the Flight into Egypt (mk17) oil painting

Painting ID::  22233

X 
 

Claude Lorrain
Rest on the Flight into Egypt (mk17)
1663 Oil on canvas.Thyssen-Bornemisza Collection,Madrid 193 x 147 cm
   
   
     

 

 

Claude Lorrain Landscape with Apollo and the Muses (mk17) oil painting

Painting ID::  22234

X 
 

Claude Lorrain
Landscape with Apollo and the Muses (mk17)
1652 Oil on canvas.National Gallery of Scotland,Edinburgh 186 x 290 cm
   
   
     

 

 

Claude Lorrain Ariadne and Bacchus on Naxos (mk17) oil painting

Painting ID::  22235

X 
 

Claude Lorrain
Ariadne and Bacchus on Naxos (mk17)
1656.Oil on canvas Arnot Art Museum,Elmira 77.5 x 103 cm
   
   
     

 

 

Claude Lorrain The Sermon on the Mount (mk17) oil painting

Painting ID::  22236

X 
 

Claude Lorrain
The Sermon on the Mount (mk17)
1656 Oil on canvas.The Frick Collection,New York 171.4 x 259.7 cm
   
   
     

 

 

Claude Lorrain Landscape with Erminia and the Shepherds (mk17) oil painting

Painting ID::  22237

X 
 

Claude Lorrain
Landscape with Erminia and the Shepherds (mk17)
1666 Oil on canvas.Viscount Coke Collection,Holkham Hall,Norfolk 92.5 x 137 cm
   
   
     

 

 

Claude Lorrain View of La Crescenza (mk17) oil painting

Painting ID::  22238

X 
 

Claude Lorrain
View of La Crescenza (mk17)
c 1647 Oil on canvas The Metropolitan Museum of Art,New York 106 x 135 cm
   
   
     

 

 

Claude Lorrain Landscape with a Goatherd (mk17) oil painting

Painting ID::  22239

X 
 

Claude Lorrain
Landscape with a Goatherd (mk17)
1636 Oil on canvas.National Gallery,London 52 x 41 cm
   
   
     

 

 

Claude Lorrain Landscape with St Onofrio (mk17) oil painting

Painting ID::  22240

X 
 

Claude Lorrain
Landscape with St Onofrio (mk17)
C 1635 Oil on canvas Museo del Prado,Madrid 158 x 237 cm
   
   
     

 

 

Claude Lorrain Seaport at Sunset (mk17) oil painting

Painting ID::  22241

X 
 

Claude Lorrain
Seaport at Sunset (mk17)
1639 Canvas,40 1/2 x 54''(103 x 137 cm)Given to Louis XIV by Andre Le Notre in 1693 .INV 4715(G/AR)
   
   
     

 

 

Claude Lorrain Port with the Ville Medici (mk17) oil painting

Painting ID::  22244

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Claude Lorrain
Port with the Ville Medici (mk17)
Oil on canvas,40 3/16 x 52 3/8 in (102 x 133 cm) Signed and dated;Romae 1637 CLA
   
   
     

 

 

Claude Lorrain Landscape with Jacob and Laban (mk17) oil painting

Painting ID::  22245

X 
 

Claude Lorrain
Landscape with Jacob and Laban (mk17)
1676 Oil on canvas.Dulwich Picture Gallery,London 72 x 94.5 cm
   
   
     

 

 

Claude Lorrain Coast Scene with Acis and Galatea (mk17) oil painting

Painting ID::  22246

X 
 

Claude Lorrain
Coast Scene with Acis and Galatea (mk17)
1657 Oil on canvas.Gemaldegalerie,Dresden 100 x 135 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"