All Claude Lorrain Oil Paintings

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 cattle farmer and the landscape oil on canvas


cattle farmer and the landscape
cattle farmer and the landscape
Painting ID::  56887
  mk250 Year in 1629. Oil painting on cloth. About 107 x 147 cm. Philadelphia Museum of Art
  mk250 Year in 1629. Oil painting on cloth. About 107 x 147 cm. Philadelphia Museum of Art

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Claude Lorrain Ulysses Kerry race will be the return of her father Dubois oil on canvas


Ulysses Kerry race will be the return of her father Dubois
Ulysses Kerry race will be the return of her father Dubois
Painting ID::  57264
  mk255 for in 1644. 1.19 x 1.50 meters canvas. Paris, the Louvre
  mk255 for in 1644. 1.19 x 1.50 meters canvas. Paris, the Louvre

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Claude Lorrain Landscape with the Rest on the Flight into Egypt oil on canvas


Landscape with the Rest on the Flight into Egypt
Landscape with the Rest on the Flight into Egypt
Painting ID::  63833
  1666 Oil on canvas The Hermitage, St. PetersburgArtist:CLAUDE LORRAIN Title: Landscape with the Rest on the Flight into Egypt (detail) Painted in 1651-1700 , French - - painting : religious
  1666 Oil on canvas The Hermitage, St. PetersburgArtist:CLAUDE LORRAIN Title: Landscape with the Rest on the Flight into Egypt (detail) Painted in 1651-1700 , French - - painting : religious

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Claude Lorrain women in a garden oil on canvas


women in a garden
women in a garden
Painting ID::  64365
  1866 paris, muse'e du jeu de paume
  1866 paris, muse'e du jeu de paume

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Claude Lorrain Egeria beweint Numa oil on canvas


Egeria beweint Numa
Egeria beweint Numa
Painting ID::  66227
  Oil on canvas 155 x 200 cm 1669
  Oil on canvas 155 x 200 cm 1669

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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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