Alla Claude Lorrains Oljemålningar

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Bilder

Oljemålningar Från A till Z

Information

22180

Two Boats (mk17)

1635/50 Chalk drawing and ink wash.British Museum,London

22189

Two Female Figures (mk17)

1640/50 Pen drawing and Wash,heightened with white National Gallery of Art,Washington 16.6 x 13.3 cm

22179

Two Frigates (mk17)

1638/39 Pen drawing and wash.The Art Institute of Chicago

57264

Ulysses Kerry race will be the return of her father Dubois

mk255 for in 1644. 1.19 x 1.50 meters canvas. Paris, the Louvre

20532

Ulysses Returns Chryseis to Her Father (mk05)

Canvas,47 x 59''(119 x 150 cm)Acquired by Louis XIV from the Duc de Richelieu in 1665

6076

Ulysses Returns Chryseis to her Father vgh

1648 Oil on canvas, 119 x 150 cm Mus??e du Louvre, Paris

56517

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.

83418

Vedute von Delphi mit einer Opferprozession

Oil on canvas Dimensions 150 x 200 cm cyf

92774

Vedute von Delphi mit einer Opferprozession

Medium oil on canvas Dimensions 150 X 200 cm TTD

66233

Verstobung der Hagar

1668 107 x 140 cm (42.13 x 55.12 in)

70233

Verstobung der Hagar

Medium Oil on canvas Dimensions 0107 X 140 cm

22187

View from Monte Mario (mk17)

c 1640 Brush drawing British Museum,London 18.5 x 26.8 cm

20530

View of a Port with the Capitol (mk05)

Canvas 22 x 28 1/4 ''(56 x 72 cm)Seized in the Revolution from the collection of the Duc de Brissac

22216

View of Delphi with a Procession (mk17)

1672 Pen drawing and wash,heightened with white Royal Collections,Windsor Castle 25.4 x 31.8 cm

22230

View of Delphi with a Procession (mk17)

1673 Oil on canvas.The Art Institute of Chicago 101.7 x 127.3 cm

2583

View of La Crescenza

1648-50 Metropolitan Museum of Art, New York

22238

View of La Crescenza (mk17)

c 1647 Oil on canvas The Metropolitan Museum of Art,New York 106 x 135 cm

22215

View of the Aventine in Rome (mk17)

1673 Pen drawing and wash British Museum,London 19.2 x 26.4 cm

20531

View of the Campo Vaccino ()mk05

Canvas 22 x 28 1/4''(56 x 72 cm)Seized in the Revolution from the collection of the Brissac INV

22182

View of the Sasso (mk17)

Pen and ink.The Art Institute of Chicago 16.2 x 40.2 cm

22175

View on the Capitoline Hill,Rome (mk17)

1635/40 Pen drawing and wash British Museum,London 20.3 x 26.6 cm

94844

Village Fete

Oil on canvas Dimensions 103 cm x 135 cm cyf

64365

women in a garden

1866 paris, muse'e du jeu de paume

22183

Wooded View (mk17)

1635/40 Chalk drawing and ink wash Graphische Sammlung,Albertina,Vienna 22.5 x 32.5 cm

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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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