Oil Painting Artist::. Claude Lorrain

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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 Trees,Figures,and sheep (mk17) oil painting artist
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Trees,Figures,and sheep (mk17)
1660/65 Pen drawing and wash.Teylers Museum,Haarlem 40 x 24.8 cm

     Painting ID::  22210
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  Trees,Figures,and_sheep_(mk17)
1660/65 Pen drawing and wash.Teylers Museum,Haarlem 40 x 24.8 cm

Claude Lorrain Acis and Galatea (mk17) oil painting artist
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Acis and Galatea (mk17)
c 1657 Pen drawing and wash,heightened with white.Royal Collections,Collections,Windsor Castle 35.3 x 46.5 cm

     Painting ID::  22211
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  Acis_and_Galatea_(mk17)
c 1657 Pen drawing and wash,heightened with white.Royal Collections,Collections,Windsor Castle 35.3 x 46.5 cm

Claude Lorrain Egeria Mourning (mk17) oil painting artist
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Egeria Mourning (mk17)
1669 Brush drawing,heightened with white.Kupferstichkabinett,Dresden 14 x 19.7 cm

     Painting ID::  22212
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  Egeria_Mourning_(mk17)
1669 Brush drawing,heightened with white.Kupferstichkabinett,Dresden 14 x 19.7 cm

Claude Lorrain Rest on the Flight into Egypt (mk17) oil painting artist
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Rest on the Flight into Egypt (mk17)
Pen drawing and wash.Kupferstichkabinett,Staatliche Museen,Berlin 17.4 x 23.5 cm

     Painting ID::  22213
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  Rest_on_the_Flight_into_Egypt_(mk17)
Pen drawing and wash.Kupferstichkabinett,Staatliche Museen,Berlin 17.4 x 23.5 cm

Claude Lorrain Landscape with Abraham Expelling Hagar and Ishmael (mk17) oil painting artist
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Landscape with Abraham Expelling Hagar and Ishmael (mk17)
1667 Pen drawing and wash Fitzwilliam Museum,Cambridge 14.2 x 20.4 cm

     Painting ID::  22214
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  Landscape_with_Abraham_Expelling_Hagar_and_Ishmael_(mk17)
1667 Pen drawing and wash Fitzwilliam Museum,Cambridge 14.2 x 20.4 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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