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Claude Lorrain The Disembarkation of Cleopatra at Tarsus dfg oil painting


The Disembarkation of Cleopatra at Tarsus dfg
Painting ID::  6069
Claude Lorrain
The Disembarkation of Cleopatra at Tarsus dfg
1642-43 Oil on canvas, 119 x 170 cm Mus??e du Louvre, Paris

   
   
     

Claude Lorrain Italian Coastal Landscape dfb oil painting


Italian Coastal Landscape dfb
Painting ID::  6070
Claude Lorrain
Italian Coastal Landscape dfb
1642 Oil on canvas, 97 x 131 cm Staatliche Museen, Berlin

   
   
     

Claude Lorrain Imaginary View of Tivoli dfg oil painting


Imaginary View of Tivoli dfg
Painting ID::  6071
Claude Lorrain
Imaginary View of Tivoli dfg
1642 Oil on canvas, 21,6 x 25,8 cm Courtauld Institute Galleries, London

   
   
     

Claude Lorrain Marine with the Trojans Burning their Boats dfg oil painting


Marine with the Trojans Burning their Boats dfg
Painting ID::  6072
Claude Lorrain
Marine with the Trojans Burning their Boats dfg
1643 Oil on canvas, 105 x 152 cm Metropolitan Museum of Art, New York

   
   
     

Claude Lorrain Harbour Scene with Grieving Heliades dfg oil painting


Harbour Scene with Grieving Heliades dfg
Painting ID::  6073
Claude Lorrain
Harbour Scene with Grieving Heliades dfg
c. 1640 Oil on canvas, 125,5 x 175,5 cm Wallraf-Richartz Museum, Cologne

   
   
     

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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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