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"


       Prev  19  20  21  22  23  24  25  26  27  28   Next
  Prev Artist       Next Artist     

   
    

Claude Lorrain Landscape with St Onofrio (mk17) oil


Landscape with St Onofrio (mk17)
Painting ID::  22240
Landscape with St Onofrio (mk17)
C 1635 Oil on canvas Museo del Prado,Madrid 158 x 237 cm
C_1635_Oil_on_canvas_Museo_del_Prado,Madrid_158_x_237_cm
   
   
     

Claude Lorrain Seaport at Sunset (mk17) oil


Seaport at Sunset (mk17)
Painting ID::  22241
Seaport at Sunset (mk17)
1639 Canvas,40 1/2 x 54''(103 x 137 cm)Given to Louis XIV by Andre Le Notre in 1693 .INV 4715(G/AR)
   
   
     

Claude Lorrain Port with the Ville Medici (mk17) oil


Port with the Ville Medici (mk17)
Painting ID::  22244
Port with the Ville Medici (mk17)
Oil on canvas,40 3/16 x 52 3/8 in (102 x 133 cm) Signed and dated;Romae 1637 CLA
   
   
     

Claude Lorrain Landscape with Jacob and Laban (mk17) oil


Landscape with Jacob and Laban (mk17)
Painting ID::  22245
Landscape with Jacob and Laban (mk17)
1676 Oil on canvas.Dulwich Picture Gallery,London 72 x 94.5 cm
   
   
     

Claude Lorrain Coast Scene with Acis and Galatea (mk17) oil


Coast Scene with Acis and Galatea (mk17)
Painting ID::  22246
Coast Scene with Acis and Galatea (mk17)
1657 Oil on canvas.Gemaldegalerie,Dresden 100 x 135 cm
1657_Oil_on_canvas.Gemaldegalerie,Dresden_100_x_135_cm
   
   
     

       Prev  19  20  21  22  23  24  25  26  27  28   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"

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