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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 Goatherd oil painting

Painting ID::  2580

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Claude Lorrain
Landscape with Goatherd
1636 National Gallery, London
   
   
     

 

 

Claude Lorrain Seaport : The Embarkation of St.Ursula oil painting

Painting ID::  2581

X 
 

Claude Lorrain
Seaport : The Embarkation of St.Ursula
1641 National Gallery, London
   
   
     

 

 

Claude Lorrain Landscape with the Marriage of Isaac and Rebekah oil painting

Painting ID::  2582

X 
 

Claude Lorrain
Landscape with the Marriage of Isaac and Rebekah
1648 National Gallery, London
   
   
     

 

 

Claude Lorrain View of La Crescenza oil painting

Painting ID::  2583

X 
 

Claude Lorrain
View of La Crescenza
1648-50 Metropolitan Museum of Art, New York
   
   
     

 

 

Claude Lorrain The Trojan Women Setting Fire to their Fleet oil painting

Painting ID::  2584

X 
 

Claude Lorrain
The Trojan Women Setting Fire to their Fleet
Metropolitan Museum of Art, New York
   
   
     

 

 

Claude Lorrain Port with Villa Medici oil painting

Painting ID::  2585

X 
 

Claude Lorrain
Port with Villa Medici
1637 Galleria degli Uffizi, Florence
   
   
     

 

 

Claude Lorrain The Disembarkation of Cleopatra at Tarsus oil painting

Painting ID::  2586

X 
 

Claude Lorrain
The Disembarkation of Cleopatra at Tarsus
1642 Musee du Louvre, Paris
   
   
     

 

 

Claude Lorrain Seaport at Sunset oil painting

Painting ID::  2587

X 
 

Claude Lorrain
Seaport at Sunset
1639 Musee du Louvre, Paris
   
   
     

 

 

Claude Lorrain Landscape with the Finding of Moses oil painting

Painting ID::  2588

X 
 

Claude Lorrain
Landscape with the Finding of Moses
1638 Museo del Prado, Madrid
   
   
     

 

 

Claude Lorrain Landscape with the Embarkation of Saint Paula Romana at Ostia oil painting

Painting ID::  2589

X 
 

Claude Lorrain
Landscape with the Embarkation of Saint Paula Romana at Ostia
1639 Museo del Prado, Madrid
   
   
     

 

 

Claude Lorrain The Rest on the Flight into Egypt oil painting

Painting ID::  2590

X 
 

Claude Lorrain
The Rest on the Flight into Egypt
1651 The Hermitage, St.Petersburg
   
   
     

 

 

Claude Lorrain The Departure of Hagar and Ishmael oil painting

Painting ID::  2591

X 
 

Claude Lorrain
The Departure of Hagar and Ishmael
1668 Pinakothek, Munich
   
   
     

 

 

Claude Lorrain A Seaport oil painting

Painting ID::  2592

X 
 

Claude Lorrain
A Seaport
1674 Pinakothek, Munich
   
   
     

 

 

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

Painting ID::  2593

X 
 

Claude Lorrain
Landscape with Ascanius Shooting the Stag of Silvia
1682 Ashmolean Museum, Oxford
   
   
     

 

 

Claude Lorrain The Judgment of Paris oil painting

Painting ID::  2594

X 
 

Claude Lorrain
The Judgment of Paris
1645-46 National Gallery of Art, Washington DC
   
   
     

 

 

Claude Lorrain Landscape with Merchants sdfg oil painting

Painting ID::  6063

X 
 

Claude Lorrain
Landscape with Merchants sdfg
c. 1630 Oil on canvas, 97,2 x 143,6 cm National Gallery of Art, Washington
   
   
     

 

 

Claude Lorrain The Campo Vaccino, Rome dfg oil painting

Painting ID::  6064

X 
 

Claude Lorrain
The Campo Vaccino, Rome dfg
Oil on canvas, 56 x 72 cm Mus??e du Louvre, Paris
   
   
     

 

 

Claude Lorrain Port Scene with the Villa Medici dfg oil painting

Painting ID::  6065

X 
 

Claude Lorrain
Port Scene with the Villa Medici dfg
1637 Oil on canvas, 102 x 133 cm Galleria degli Uffizi, Florence
   
   
     

 

 

Claude Lorrain Landscape with the Finding of Moses sdfg oil painting

Painting ID::  6066

X 
 

Claude Lorrain
Landscape with the Finding of Moses sdfg
7-39 Oil on canvas, 209 x 138 cm Museo del Prado, Madrid
   
   
     

 

 

Claude Lorrain Port Scene with the Embarkation of St Ursula fgh oil painting

Painting ID::  6068

X 
 

Claude Lorrain
Port Scene with the Embarkation of St Ursula fgh
1641 Oil on canvas, 113 x 149 cm National Gallery, London
   
   
     

 

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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"