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Claude Lorrain A Seaport at Sunrise 1674
Oil on canvas, 72 x 96 cm
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Claude Lorrain Apollo and the Muses on Mount Helion 1680
Oil on canvas, 98 x 135 cm
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Claude Lorrain Landscape with Noli Me Tangere Scene 1681
Oil on canvas, 84,5 x 141 cm
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Claude Lorrain Landscape with Ascanius Shooting the Stag of Sylvia 1682
Oil on canvas, 120 x 150 cm
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Claude Lorrain Morning in the Harbor mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museum
c.1649
France
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Claude Lorrain The Sermon on the mount mk76
Painted in 1656
Oil on canvas
67 1/2x102 1/4in
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Claude Lorrain Details of The Sermon on the mount mk76
Painted in 1656
Oil on canvas
67 1/2x102 1/4in
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Claude Lorrain Details of The Sermon on the mount mk76
Painted in 1656
Oil on canvas
67 1/2x102 1/4in
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Claude Lorrain Landscape with Hagar and the Angel mk81
1646
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Claude Lorrain Landscape with a goatherd and goats mk82
c.1636
Oil on canvas
51.4x41.3cm
National Gallery,London
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Claude Lorrain Landscape with Hagar and the Angel mk82
1646-47
Oil on canvas on wood
52x44
National Gallery,
London
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Claude Lorrain Seaport with the embarkation of Saint Ursula mk82
1641
Oil on canvas
48.6x113.0cm
National Gallery
London
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Claude Lorrain Landscape with Cephalus and Procris reunited by Diana mk86
1645
Oil on canvas
102x132c,m
London,Natinal Gallery
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Claude Lorrain Landscape with Apollo and Mercury mk86
c.1645
Oil on canvas
55x45cm
Rome,Galleria Doria-Pamphilj
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Claude Lorrain Seaport at Sunrise mk86
1674
Oil on canvas
72x96cm
Munich,Bayerisch Staatsgemalde-sammlungen
Alte Pinakothek
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Claude Lorrain Embarkation of St Paula Romana at Ostia mk156
1639
Oil on canvas
211x145cm
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Claude Lorrain Landscape with Psyche outside the Palace of Cupid mk156
1664
Oil on canvas
87.1x151.3cm
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Claude Lorrain Landscape with Jacob,Rachel and Leah at the Well mk156
1666
Oil on canvas
113x157cm
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Claude Lorrain The Expulsion of Hagar mk156
1668
Oil on canvas
106.4x140cm
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Claude Lorrain Morning in the Harbour mk159
c.1649
Oil on canvas
97.5x120cm
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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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