Claude Lorrain Oil Painting Reproduction


All Claude Lorrain Oil Paintings


 

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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"



Claude Lorrain Egeria weeps over Numa oil painting artist
  Painting ID::   71979
Egeria weeps over Numa
1669 Oil on canvas 155 X 200 cm


 

 

 

 

 

 

 

 

Claude Lorrain Egeria beweint Numa oil painting artist
  Painting ID::   73400
Egeria beweint Numa
Date 1669 Medium Oil on canvas Dimensions Deutsch: 155 X 200 cm cyf


 

 

 

 

 

 

 

 

Claude Lorrain The Judgment of Paris oil painting artist
  Painting ID::   75955
The Judgment of Paris
The Judgment of Paris, oil on canvas painting by Claude Lorrain, 1645-1646, National Gallery of Art, Washington cjr


 

 

 

 

 

 

 

 

Claude Lorrain Belagerung von La Rochelle durch die Truppen Ludwigs XIII., Oval oil painting artist
  Painting ID::   76647
Belagerung von La Rochelle durch die Truppen Ludwigs XIII., Oval
1631(1631) Oil on canvas 28 ?? 42 cm cjr


 

 

 

 

 

 

 

 

Claude Lorrain The Judgment of Paris oil painting artist
  Painting ID::   77767
The Judgment of Paris
oil on canvas painting by Claude Lorrain, 1645-1646, National Gallery of Art, Washington Date 1645-6 cyf


 

 

 

 

 

 

 

 


       Prev  34  35  36  37  38  39  40  41  42  43   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" . Related Artists to Claude Lorrain: | Thomas Webster | Lord Frederic Leighton | ELIAERTS, Jan Frans | Johann M Culverhouse | Christian Friedrich Gille |

  

  

  

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