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"
 

       Prev  26  27  28  29  30  31  32  33  34  35   Next
  Prev Artist       Next Artist     

   
    

Claude Lorrain Landscape with Hagar and the Angel oil on canvas


Landscape with Hagar and the Angel
Landscape with Hagar and the Angel
Painting ID::  32975
  mk82 1646-47 Oil on canvas on wood 52x44 National Gallery, London
  mk82 1646-47 Oil on canvas on wood 52x44 National Gallery, London

Height    Width


  INS/CM       Quality

X

  

Claude Lorrain Seaport with the embarkation of Saint Ursula oil on canvas


Seaport with the embarkation of Saint Ursula
Seaport with the embarkation of Saint Ursula
Painting ID::  33115
  mk82 1641 Oil on canvas 48.6x113.0cm National Gallery London
  mk82 1641 Oil on canvas 48.6x113.0cm National Gallery London

Height    Width


  INS/CM       Quality

X

  

Claude Lorrain Landscape with Cephalus and Procris reunited by Diana oil on canvas


Landscape with Cephalus and Procris reunited by Diana
Landscape with Cephalus and Procris reunited by Diana
Painting ID::  33604
  mk86 1645 Oil on canvas 102x132c,m London,Natinal Gallery
  mk86 1645 Oil on canvas 102x132c,m London,Natinal Gallery

Height    Width


  INS/CM       Quality

X

  

Claude Lorrain Landscape with Apollo and Mercury oil on canvas


Landscape with Apollo and Mercury
Landscape with Apollo and Mercury
Painting ID::  33605
  mk86 c.1645 Oil on canvas 55x45cm Rome,Galleria Doria-Pamphilj
  mk86 c.1645 Oil on canvas 55x45cm Rome,Galleria Doria-Pamphilj

Height    Width


  INS/CM       Quality

X

  

Claude Lorrain Seaport at Sunrise oil on canvas


Seaport at Sunrise
Seaport at Sunrise
Painting ID::  33606
  mk86 1674 Oil on canvas 72x96cm Munich,Bayerisch Staatsgemalde-sammlungen Alte Pinakothek
  mk86 1674 Oil on canvas 72x96cm Munich,Bayerisch Staatsgemalde-sammlungen Alte Pinakothek

Height    Width


  INS/CM       Quality

X

  

       Prev  26  27  28  29  30  31  32  33  34  35   Next
Prev Artist       Next Artist     

     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"

ARTISTABCDEFGHIJKLMNOPQRSTUVWXYZ
A
rt Work: ABCDEFGHIJKLMNOPQRSTUVWXYZ


CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Wholesale Frame Moulding Mirror Framed Stretched Paintings