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Claude Lorrain Landscape with Goatherd 1636
National Gallery, London
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Claude Lorrain Seaport : The Embarkation of St.Ursula 1641
National Gallery, London
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Claude Lorrain Landscape with the Marriage of Isaac and Rebekah 1648
National Gallery, London
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Claude Lorrain View of La Crescenza 1648-50
Metropolitan Museum of Art, New York
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Claude Lorrain The Trojan Women Setting Fire to their Fleet Metropolitan Museum of Art, New York
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Claude Lorrain Port with Villa Medici 1637
Galleria degli Uffizi, Florence
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Claude Lorrain The Disembarkation of Cleopatra at Tarsus 1642
Musee du Louvre, Paris
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Claude Lorrain Seaport at Sunset 1639
Musee du Louvre, Paris
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Claude Lorrain Landscape with the Finding of Moses 1638
Museo del Prado, Madrid
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Claude Lorrain Landscape with the Embarkation of Saint Paula Romana at Ostia 1639
Museo del Prado, Madrid
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Claude Lorrain The Rest on the Flight into Egypt 1651
The Hermitage, St.Petersburg
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Claude Lorrain The Departure of Hagar and Ishmael 1668
Pinakothek, Munich
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Claude Lorrain A Seaport 1674
Pinakothek, Munich
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Claude Lorrain Landscape with Ascanius Shooting the Stag of Silvia 1682
Ashmolean Museum, Oxford
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Claude Lorrain The Judgment of Paris 1645-46
National Gallery of Art, Washington DC
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Claude Lorrain Landscape with Merchants sdfg c. 1630
Oil on canvas, 97,2 x 143,6 cm
National Gallery of Art, Washington
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Claude Lorrain The Campo Vaccino, Rome dfg Oil on canvas, 56 x 72 cm
Mus??e du Louvre, Paris
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Claude Lorrain Port Scene with the Villa Medici dfg 1637
Oil on canvas, 102 x 133 cm
Galleria degli Uffizi, Florence
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Claude Lorrain Landscape with the Finding of Moses sdfg 7-39
Oil on canvas, 209 x 138 cm
Museo del Prado, Madrid
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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
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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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