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Claude Lorrain Landscape with Christ and the Magdalen (mk17) 1681 Oil on canvas.Stadelsches Kunstinstitut,Frankfurt am Main 84.5 x 141 cm
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Claude Lorrain Landscape with David and the Three Heroes (mk17) 1658 Oil on canvas National Gallery,London 112 x 185 cm
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Claude Lorrain Landscape with a Sacrifice to Apolio (n03) 1662 Oil on canvas 176 223 cm 69 x 87 3/4 in
Anglesey Abbey Lode
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Claude Lorrain Coast Scene with the Rape of Europa (mk25) 1667
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Claude Lorrain Coast Scene with the Rape of Europa (mk25) 1667
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Claude Lorrain Morning mk60
1666
Oil on canvas
44 1/2x62"
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Claude Lorrain Noon mk60
1651 or 1661
Oil on canvas
44 1/2x62"
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Claude Lorrain Italian Landscape mk60
Oil on canvas
29 1/2x39"
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Claude Lorrain Landscape with the Temptations of St.Anthony Abbot mk61
Oil on canvas
159x239cm
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Claude Lorrain Landscape with a Hermit mk61
Oil on canvas
158x237cm
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Claude Lorrain Landscape with a the Penitent Magdalen mk61
Oil on canvas
162x241cm
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Claude Lorrain The Harbor of Baiae with Apollo and the Cumaean Sibyl mk65
1650s
Oil on canvas
39x49"
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Claude Lorrain Night mk65
1672
Oil on canvas
45 1/2x63"
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Claude Lorrain Morning mk65
Oil on canvas
44 1/2x62"
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Claude Lorrain Landscape with Acis and Galathe 1657
Oil on canvas, 100 x 135 cm
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Claude Lorrain Landscape with Apollo and Mercury 1660
Oil on canvas, 74,5 x 110,5 cm
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Claude Lorrain Landscape with Shepherds - The Pont Molle 1645
Oil on canvas, 74 x 97 cm
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Claude Lorrain Embarkation of St Paula Romana at Ostia 1637-39
Oil on canvas, 211 x 145 cm
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Claude Lorrain The Expulsion of Hagar 1668
Oil on canvas, 107 x 140 cm
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Claude Lorrain Landscape with Aeneas at Delos 1672
Oil on canvas, 100 x 134 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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