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Moses Rescued from the Waters
new20/Claude Lorrain-633354.jpg
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Moses_Rescued_from_the_Waters
mk244
c.1639/40
Oil on canvas
209x138cm
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Seaport at Sunrise
new20/Claude Lorrain-352232.jpg
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Seaport_at_Sunrise
mk244
Oil on canvs
72x96cm
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landscape with the marriage of lsaac and rebecca
new20/Claude Lorrain-762759.jpg
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landscape_with_the_marriage_of_lsaac_and_rebecca
mk247
1648,oil on canvas,60x79 in,152.3x200.6 cm,national gallery,london,uk
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utsikt over hamn med bimma
new20/Claude Lorrain-628727.jpg
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utsikt_over_hamn_med_bimma
mk248 en av claudes typiska bamnuyer med boha byggnder flankerar lompositionen med ljus som lyer upp bela scenen fran en punkt strax ovanfor borisonten. den bar malningen illustrerar ocksa bur ban bar asradkommit ett djup genom att man ser mot den disiga borisonten genom en graduis nedtoning av de tydliga konturerna ocb starka fargerna.
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lenbskap med nymfen egeria
new20/Claude Lorrain-292784.jpg
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lenbskap_med_nymfen_egeria
mk248 en av claudes senare ocb storta malningar visar egeria som sorjer sin dode make, kungen av rom. sorg ocb trost ar de teman som genomstrar bilden genom ett val sammanballet fargscbema som ocergar fran morker till ljus. detypisla inslagen i en landskapsmalning av claude forenas bar av ett milt ljus som strommar mot askadaren,varsmt blick varsamt leds kring en serie sma poetila vinjetter.
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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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