|
|
 |
| Click Image to Enlarge |
A Seaport at Sunrise
new3/Claude Lorrain-729428.jpg
|
|
|
|
|
A_Seaport_at_Sunrise
1674
Oil on canvas, 72 x 96 cm
|
|
 |
| Click Image to Enlarge |
Apollo and the Muses on Mount Helion
new3/Claude Lorrain-677943.jpg
|
|
|
|
|
Apollo_and_the_Muses_on_Mount_Helion
1680
Oil on canvas, 98 x 135 cm
|
|
 |
| Click Image to Enlarge |
Landscape with Noli Me Tangere Scene
new3/Claude Lorrain-388994.jpg
|
|
|
|
|
Landscape_with_Noli_Me_Tangere_Scene
1681
Oil on canvas, 84,5 x 141 cm
|
|
 |
| Click Image to Enlarge |
Landscape with Ascanius Shooting the Stag of Sylvia
new3/Claude Lorrain-984685.jpg
|
|
|
|
|
Landscape_with_Ascanius_Shooting_the_Stag_of_Sylvia
1682
Oil on canvas, 120 x 150 cm
|
|
 |
| Click Image to Enlarge |
Morning in the Harbor
new4/Claude Lorrain-652778.jpg
|
|
|
|
|
Morning_in_the_Harbor
mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museum
c.1649
France
|
|
|
| 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"
|
|
| Wholesale China Oil Painting Wholesale Oil Painting China Xiamen Portrait Reproduction on canvas Chinese Oil Painting Wholesale USA Oil Painting |
|
