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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 A Seaport at Sunrise oil painting

Painting ID::  29508

X 
 

Claude Lorrain
A Seaport at Sunrise
1674 Oil on canvas, 72 x 96 cm
   
   
     

 

 

Claude Lorrain Apollo and the Muses on Mount Helion oil painting

Painting ID::  29512

X 
 

Claude Lorrain
Apollo and the Muses on Mount Helion
1680 Oil on canvas, 98 x 135 cm
   
   
     

 

 

Claude Lorrain Landscape with Noli Me Tangere Scene oil painting

Painting ID::  29515

X 
 

Claude Lorrain
Landscape with Noli Me Tangere Scene
1681 Oil on canvas, 84,5 x 141 cm
   
   
     

 

 

Claude Lorrain Landscape with Ascanius Shooting the Stag of Sylvia oil painting

Painting ID::  29517

X 
 

Claude Lorrain
Landscape with Ascanius Shooting the Stag of Sylvia
1682 Oil on canvas, 120 x 150 cm
   
   
     

 

 

Claude Lorrain Morning in the Harbor oil painting

Painting ID::  30578

X 
 

Claude Lorrain
Morning in the Harbor
mk68 Oil on canvas Saint Petersburg, State Hermitage Museum c.1649 France
   
   
     

 

 

Claude Lorrain The Sermon on the mount oil painting

Painting ID::  31781

X 
 

Claude Lorrain
The Sermon on the mount
mk76 Painted in 1656 Oil on canvas 67 1/2x102 1/4in
   
   
     

 

 

Claude Lorrain Details of The Sermon on the mount oil painting

Painting ID::  31782

X 
 

Claude Lorrain
Details of The Sermon on the mount
mk76 Painted in 1656 Oil on canvas 67 1/2x102 1/4in
   
   
     

 

 

Claude Lorrain Details of The Sermon on the mount oil painting

Painting ID::  31783

X 
 

Claude Lorrain
Details of The Sermon on the mount
mk76 Painted in 1656 Oil on canvas 67 1/2x102 1/4in
   
   
     

 

 

Claude Lorrain Landscape with Hagar and the Angel oil painting

Painting ID::  32782

X 
 

Claude Lorrain
Landscape with Hagar and the Angel
mk81 1646
   
   
     

 

 

Claude Lorrain Landscape with a goatherd and goats oil painting

Painting ID::  32946

X 
 

Claude Lorrain
Landscape with a goatherd and goats
mk82 c.1636 Oil on canvas 51.4x41.3cm National Gallery,London
   
   
     

 

 

Claude Lorrain Landscape with Hagar and the Angel oil painting

Painting ID::  32975

X 
 

Claude Lorrain
Landscape with Hagar and the Angel
mk82 1646-47 Oil on canvas on wood 52x44 National Gallery, London
   
   
     

 

 

Claude Lorrain Seaport with the embarkation of Saint Ursula oil painting

Painting ID::  33115

X 
 

Claude Lorrain
Seaport with the embarkation of Saint Ursula
mk82 1641 Oil on canvas 48.6x113.0cm National Gallery London
   
   
     

 

 

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

Painting ID::  33604

X 
 

Claude Lorrain
Landscape with Cephalus and Procris reunited by Diana
mk86 1645 Oil on canvas 102x132c,m London,Natinal Gallery
   
   
     

 

 

Claude Lorrain Landscape with Apollo and Mercury oil painting

Painting ID::  33605

X 
 

Claude Lorrain
Landscape with Apollo and Mercury
mk86 c.1645 Oil on canvas 55x45cm Rome,Galleria Doria-Pamphilj
   
   
     

 

 

Claude Lorrain Seaport at Sunrise oil painting

Painting ID::  33606

X 
 

Claude Lorrain
Seaport at Sunrise
mk86 1674 Oil on canvas 72x96cm Munich,Bayerisch Staatsgemalde-sammlungen Alte Pinakothek
   
   
     

 

 

Claude Lorrain Embarkation of St Paula Romana at Ostia oil painting

Painting ID::  40456

X 
 

Claude Lorrain
Embarkation of St Paula Romana at Ostia
mk156 1639 Oil on canvas 211x145cm
   
   
     

 

 

Claude Lorrain Landscape with Psyche outside the Palace of Cupid oil painting

Painting ID::  40510

X 
 

Claude Lorrain
Landscape with Psyche outside the Palace of Cupid
mk156 1664 Oil on canvas 87.1x151.3cm
   
   
     

 

 

Claude Lorrain Landscape with Jacob,Rachel and Leah at the Well oil painting

Painting ID::  40511

X 
 

Claude Lorrain
Landscape with Jacob,Rachel and Leah at the Well
mk156 1666 Oil on canvas 113x157cm
   
   
     

 

 

Claude Lorrain The Expulsion of Hagar oil painting

Painting ID::  40512

X 
 

Claude Lorrain
The Expulsion of Hagar
mk156 1668 Oil on canvas 106.4x140cm
   
   
     

 

 

Claude Lorrain Morning in the Harbour oil painting

Painting ID::  41051

X 
 

Claude Lorrain
Morning in the Harbour
mk159 c.1649 Oil on canvas 97.5x120cm
   
   
     

 

       Prev    3  4  5  6  7  8  9  10  11  12     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"