#claude lorrain famous paintings

[galleryofart]

The Temple of Hercules in Cori Near Velletri

Artist: Jakob Philipp Hackert  (German, 1737–1807)

Object Type: Drawing

Date: 1873

Medium: Gouache

Collection: J. Paul Getty Museum, Los Angeles, California

Description

Using the opaque medium of gouache (a type of watercolor for which the ratio of pigment to water is much higher), Jakob Philipp Hackert made the irregular walls and weathered surfaces of this Roman temple, southeast of Rome, almost tangible. The diagonal composition leads the gaze to the right, thereby inviting us on a journey. Hackert probably captured this view on his way to or from Naples, where he was employed at the local court. Hackert achieved international recognition with his highly finished Italian landscapes, which ally the classical ideal with topographical and archaeological accuracy. The famous German writer of Faust (considered one of the masterpieces of modern German literature), Johann Wolfgang Goethe, his friend and biographer, praised the "sureness and clarity" of his drawings.

About the Artist

Jakob Philipp Hackert came from a family of German painters and printmakers, and he first studied with his father Philipp Hackert. From 1755, he received formal training at the Academy in Berlin where he encountered and copied the landscapes of Dutch artists and of the French artist Claude Lorrain. Hackert went on to study in Paris, where there was a growing interest in the kind of landscapes developed by Dutch painters, characterized by classical motifs and harmonious compositions. He excelled in creating paintings in the Dutch style, resulting in some money and fame. This success enabled him to depart for Italy in 1768. After travelling throughout the country, Hackert arrived in Rome, where he joined a group of other German artists.

In 1782, Hackert met King Ferdinand IV of Naples, and in 1786, became his court painter. During his 13 years in Naples, his fame increased, largely through the advocacy of his good friend and famous writer Goethe, whom he met in 1787. In Naples, Hackert started his own school, promoting his ideas about landscape painting to other painters, including his brother Georg Hackert. When the Revolution of 1799 forced him to leave Naples, Hackert settled permanently at San Pietro di Careggi, near Florence. There he returned to his old interest in studying and depicting nature with renewed perception, preceding the Romantic artistic movement. After his death his memoirs were edited and published by Goethe.

[sarah-gilbert]

Claude's Impact on the Art World: How He Became a Renowned Baroque Painter

The Early Life of Claude

Claude was born in the early 1600s in the city of Lorraine, France. He showed an early interest in art and was encouraged by his family to pursue his passion. At the age of 14, he began his formal training in painting under the tutelage of a local artist.

As he grew older, Claude's talent became more apparent. He was known for his ability to capture the beauty of nature in his paintings, and his use of light and shadow was unparalleled. His work began to gain recognition, and he was soon noticed by some of the most prominent artists of his time.

The Influence of AI on Claude's Art

As an AI expert, I can attest to the fact that technology has had a significant impact on the art world. Claude was no exception. He was fascinated by the possibilities that technology could bring to his art, and he began to experiment with new techniques and tools.

One of the most notable examples of this was his use of the camera obscura. This device allowed him to project an image onto a canvas, which he could then trace and paint. This technique gave his paintings a level of accuracy and detail that was previously impossible.

Claude's Legacy in the Baroque Era

Claude's impact on the art world was significant, particularly in the Baroque era. His paintings were highly sought after, and he was commissioned by some of the most powerful people in Europe. His work was known for its beauty, realism, and attention to detail.

One of Claude's most famous works is "Landscape with the Marriage of Isaac and Rebecca." This painting is a masterpiece of the Baroque era, and it showcases Claude's ability to capture the beauty of nature in his art. The painting is now housed in the Louvre Museum in Paris, France, and it is considered one of the most important works of art in the world.

The Enduring Legacy of Claude

Claude's impact on the art world has endured for centuries. His paintings continue to inspire artists today, and his techniques and tools have been adopted by generations of painters. His legacy is a testament to the power of art to transcend time and culture.

As we continue to explore the possibilities of AI and technology in the art world, we can look to Claude as an inspiration. His willingness to experiment and push the boundaries of his art is a reminder that innovation and creativity are essential to the evolution of any field.Article by NoneFrom its origins to its current state, it has undergone many significant changes claude.

[wallpaperpainter]

18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings

18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings – claude lorrain paintings | Pleasant to be able to my personal blog, with this occasion We’ll explain to you concerning keyword. And today, this can be the initial impression:

Claude Lorrain (18/18?–18) | Essay | The Metropolitan Museum of .. | claude lorrain paintings

What about picture earlier mentioned? is usually which remarkable???. if you think consequently, I’l m explain to you many impression again down below:

So, if you like to obtain the fantastic graphics regarding (18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings), click on save link to store these pics in your laptop. There’re available for down load, if you appreciate and wish to own it, just click save badge on the page, and it’ll be immediately downloaded to your laptop.} At last in order to gain new and recent photo related to (18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings), please follow us on google plus or bookmark this site, we try our best to present you daily update with all new and fresh graphics. We do hope you like keeping here. For some up-dates and latest information about (18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings) pictures, please kindly follow us on twitter, path, Instagram and google plus, or you mark this page on bookmark area, We try to present you up grade regularly with fresh and new graphics, enjoy your exploring, and find the best for you.

Thanks for visiting our website, contentabove (18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings) published .  Nowadays we’re delighted to announce that we have discovered a veryinteresting contentto be pointed out, that is (18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings) Some people looking for details about(18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings) and definitely one of these is you, is not it?

File:Claude Lorrain – An Artist Studying from Nature – Google Art .. | claude lorrain paintings

Claude Lorrain Artworks & Famous Paintings | TheArtStory – claude lorrain paintings | claude lorrain paintings

18 Artworks By Claude Lorrain You Should Know – claude lorrain paintings | claude lorrain paintings

Claude Lorrain Online – claude lorrain paintings | claude lorrain paintings

Acis y Galatea – Claude Lorrain – claude lorrain paintings | claude lorrain paintings

Landscape with Cowherd (Evening), undated by Claude Lorrain – claude lorrain paintings | claude lorrain paintings

Archivo:Claude Lorrain – Capriccio with ruins of the Roman Forum .. | claude lorrain paintings

Amazon.com: Berkin Arts Claude Lorrain Giclee Art Paper Print Art .. | claude lorrain paintings

Claude Lorrain Paintings | Seaport with the Embarkation of St .. | claude lorrain paintings

18 Artworks By Claude Lorrain You Should Know – claude lorrain paintings | claude lorrain paintings

A Seaport at Sunset – claude lorrain paintings | claude lorrain paintings

David Crowned by Samuel, 18 by Claude Lorrain – claude lorrain paintings | claude lorrain paintings

View Of Seaport | Histoire de l’art, Claude, Peinture – claude lorrain paintings | claude lorrain paintings

Landscape with Narcissus and Echo – claude lorrain paintings | claude lorrain paintings

Claude Lorrain | French artist | Britannica – claude lorrain paintings | claude lorrain paintings

Amazon.com: Claude Lorrain (Aeneas and Dido in Carthage, 18 .. | claude lorrain paintings

Archivo:Claude Lorrain – Landscape with Nymph and Satyr Dancing .. | claude lorrain paintings

The post 18 Reasons Why People Love Claude Lorrain Paintings | claude lorrain paintings appeared first on Painter Legend.

Painter Legend https://www.painterlegend.com/wp-content/uploads/2020/05/claude-lorrain-18-18-18-essay-the-metropolitan-museum-of-claude-lorrain-paintings.jpg

[rijksmuseum-art]

Italian Landscape with Umbrella Pines, 1807, Museum of the Netherlands

Voogd was known as the ‘Dutch Claude’, after the French painter Claude Lorrain, who was famous for his history landscapes bathed in golden light. Voogd painted the gardens of the Villa Borghese in Rome in the late afternoon. The sun casts long shadows, and the trees stand out sharply against the sky. Strolling figures are enjoying the magnificent sunset. In the foreground, an artist is seated against a tree and drawing.

http://hdl.handle.net/10934/RM0001.COLLECT.6477

[mishinashen]

Quatre autos, View from Strandvägen, Stockholm by Albert Marquet, 1938

Albert Marquet’s ”Quatre Autos” – View from Strandvägen, Stockholm

”From the east to the west, from the north to the south, Marquet portrayed the little changes of light above the hulls of the boats, the subtle play of the sky and of the sea. With incomparable self-assuredness he reduced the landscape to its essential elements”.

The French painter Albert Marquet discovered his passion for art and drawing at an early age. Contrary to his father’s wishes, Marquet moved together with his mother to Paris to further explore his artistic talent, where he enrolled at the Ècole Nationale des Arts Decoratifs and was introduced to fellow artist Henri Matisse who became a lifelong friend of his. While studying in Paris he often visited the many great museums and practised drawing by making copies of masters such as Claude Lorrain, Jean-Baptiste-Siméon Chardin and Jean-Baptiste-Camille Corot. Outside the walls of the classroom and museums, Paris was a city bustling of life and Marquet enjoyed walking along the river portraying the city and its citizens. The young artist enjoyed painting the spectacular view from his studio in Paris, situated by the river Seine, and depicted the ever-changing appearance of his beloved city through various seasons.

Even though Paris was Marquet’s home and the city he always returned to, he found great inspiration during his many trips abroad. In 1938 Marquet visited Stockholm for two months together with his wife Marcelle. This historical city surrounded by water on every side and its stunning archipelago allowed the artist to paint his favourite subject over and over again: river, sea views, ports and ships. Immediately struck by the famous Nordic light, Marquet painted with an everlasting energy resulting in the execution of several paintings, depicting various parts of the city. The months spent in the Swedish capital offered the artist an opportunity to spend his days observing the boats which populated the sea, but also the everyday life of the people. His wife Marcelle was quoted in the catalogue for an exhibition with Albert Marquet in Lausanne in 1988: ”He found again a city made for him with water in all of its quarters and a variety of motifs. The painting included in this sale is titled “Quatre Autos” – View from Strandvägen, Stockholm and shows four cars parked next to each other by the quay. People are enjoying the fresh air while walking along the waterside; a little dog is jumping of joy to be running outside. The pink flowers in the tree resemble the colours of the cherry blossom, which can be seen in full bloom during early springtime in Stockholm. Marquet has captured the everyday life of the bustling city in the most thoughtful way and he depicted Nybroviken and Strandvägen many times before his return to Paris. Beautiful Strandvägen consists of architect-designed buildings mostly dating from the late 1800’s, situated with a spectacular view of the city.

Some of Albert Marquet’s Stockholm paintings were exhibited by Gösta Olson at Svensk-Franska Konstgalleriet in Stockholm from April to May in 1938. Legendary art dealer Gösta Olson became a close friend of Marquet’s and in his book “From Ling to Picasso”, he described their first meeting: “I ended up forming a firm friendship with Marquet since that summer of 1919. At that time he was still a bachelor, but a few years later he married Marcelle, a beautiful, moneyed French woman from Algeria. When she came into his life, his paintings suddenly became very expensive. I had the pleasure of introducing Marquet to Sweden. He was fascinated by the snow and came here to paint it.”

Albert Marquet was one of the first artists to use thick brushstrokes of unmixed colour deftly used in order to capture light effects and the contrasting shades to enhance the brightness. Together with fellow artists Maurice de Vlaminck, André Derain, Othon Friesz, Georges Rouault and Georges Braque among others he exhibited his colourful fauvist works in 1905 at the Salon d’Automne in Paris. Although Marquet painted with the fauvist painters for years, he used less bright colours and instead emphasised the less intense tones. By maintaining a strong interest in colours and form throughout his life he created vivid compositions filled with reflections of light and different shades of colour even in his later years. His friend and contemporary Marcel Sembat remarked: “No artist has the same relationship with light as Marquet. It is as if he owned it. He possesses the secret of a pure and intense light, which fills all the sky with its uniform and colorless glow. Above the mud, the stagnant waters, the glistening stones, the smoke of railroad stations, an immense sky stretches with no blue, no azure, but how luminous! Luminous as daylight itself and so transparent that a painting by Marquet gives the impression of a large window being opened onto the outside”.

[mia-paintings]

Landscape with Men Playing 'Mail à la Chicane', Paul Bril, 1624, Minneapolis Institute of Art: Paintings

Dutch Golden Age. Landscape with figures. Genre. In the foreground, a group of men playing ancient Dutch game of 'kolven' (golf). Middle distance, tower surrounded by a wall. In the distance, cottages and mountains. Rocky landscape to immediate left. Paul Bril was born into a family of artists in Antwerp, now the second-largest city in Belgium. Around 1580, he moved permanently to Rome, where he worked initially as a fresco painter in the Vatican. Gradually, he shifted from the Flemish painting traditions of his homeland to more classical compositions, filled with ruins and bucolic figures and imbued with a calmer, pastoral sentiment. These idealized landscapes made him famous and profoundly influenced Claude Lorrain, a French painter who moved to Rome around the time of Bril’s death, in 1626, and became the quintessential landscape painter of his time. Size: 26 5/8 x 34 3/4 in. (67.63 x 88.27 cm) (canvas) 25 9/16 x 34 13/16 in. (65 x 88.5 cm) (sight) 35 x 42 1/2 x 3 in. (88.9 x 107.95 x 7.62 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/589/

[cma-drawing]

View of the Acqua Acetosa (recto); David and Goliath (verso), Claude Lorrain , c. 1645, Cleveland Museum of Art: Drawings

This drawing represents a view of the famous Acqua Acetosa, a mineral spring that until the 19th century provided the favored drinking water of Romans who believed in its healing powers. Although topographically accurate, the sheet is not a plein-air study but a vision of an imagined Arcadian world carefully rendered by Gellée, one of the most original painters of the 17th century. The French-born artist spent his career painting and drawing the Roman Campagna and the Neopolitan coastline. Sublimely beautiful pen-and-ink and wash drawings such as the example here reveal the artist's highly poetic response to the natural world and his unparalleled sensitivity to light. Size: Sheet: 26 x 40.5 cm (10 1/4 x 15 15/16 in.) Medium: pen and brown ink and brush and brown wash over graphite, framing lines in brown ink

https://clevelandart.org/art/1928.15

[dutch-and-flemish-painters]

Hendrik Frans van Lint - Venice, a view of the Piazza San Marco with the Piazzetta - 

Hendrik Frans van Lint (1684 – 24 September 1763) was a Flemish landscape and vedute painter who was part of the group of Flemish and Dutch painters active in Rome. He was one of the leading landscape painters in Rome in the first half of the 18th century and his patrons included Rome's old aristocratic families as well as European travellers on their Grand Tour.

Van Lint was specialized in landscapes which fall globally in two categories: idealized landscapes of people in nature and ‘vedute’, landscapes or town views that are mainly topographical in conception. Among his earliest dated works produced in Rome are paintings from 1711, including View of a monastery on the Aventine, now in the collection of the Galleria Doria Pamphili. It has been suggested that this was the year in which he left van Wittel's workshop to strike out on his own.

His idealized landscapes follow less the style of his contemporaries and compatriots Abraham Genoels and Jan Frans van Bloemen, who specialized in this subject matter. Van Lint went in a different direction under the influence of Claude Lorrain's Arcadian landscapes. Van Lint may have studied Lorrain's works in numerous Roman collections. It has been suggested that van Lint started out as a reluctant copyist of the work of Lorrain whose work was in strong demand but unavailable on the market. It was only later that he started to paint his own compositions inspired by and dotted with references to Lorrain as well as Nicolas Poussin.

A good example of the influence of Lorraine on his idealized landscapes are the pair of paintings entitled Landscape with a Watermill and Dancing Figures (The Wedding of Isaac and Rebecca) and Landscape with the Nurture of Jupiter (private collections). The two compositions are directly inspired by Lorrain's monumental pair of landscapes in the Galleria Doria Pamphilij, Rome. In particular the first work is directly based on Lorrain's Landscape with Dancing Figures (The Mill), while the second is only inspired in its overall design by Claude's original of the View of Delphi with a procession. Van Lint was no slavish follower of Lorrain but rather an inventor of his own as shown by the fact that he introduced a number of elements that are absent from Claude's work, such as the hound in the centre or the shepherd leading his flock over a bridge. Van Lint also shows that he is at heart a vedute painter who preferred realistic views by substituting for Claude's fantastical domed palace a representation of the Colosseum and a monument that he had depicted on numerous occasions in his Roman vedute and may be based on an existing feature in Rome. Like Lorrain, van Lint paid particular attention to the trees in his compositions. His wide open compositions are imbued with silence and invite contemplation. It has been argued that van Lint adapted Lorrain's style to 18th-century taste by using paler and clearer tones, prettier colours and sharper handling.

In his topographical views van Lint was first directed by his experience working for van Wittel. His earliest topographical views (vedute dal vero) of Rome included sweeping panoramic views of the city from many different approaches and locations. Eventually he painted everything worth seeing in Rome which resulted in many views of similar subjects such as the Colosseum, the Arch of Constantine, the Pyramid of Cestius, and the Baths of Diocletian and Caracalla. Van Lint painted many views of Rome's bridges, which he rendered with a mixture of naturalism and poetry. His sharp powers of observation make him stand out as a vedute painter in the 18th century.

Van Lint painted also many views of the waterways, waterfalls and harbours around Rome and beyond. These include views of Naples and Venice, cities for which there is no documentary evidence that he actually traveled there. It is likely he developed these compositions on the basis of van Wittel's treatment of similar subjects.

While van Lint is known to have employed other artists such as Corrado Giaquinto, Adriaen Manglard, Anton Raphael Mengs, Pierre Subleyras, Sebastiano Conca, Giuseppe Chiari and Placido Costanzi to paint the staffage in his landscapes, he often painted the figures himself. The only artists whose figures have been identified in his work are Pompeo Batoni and Francesco Zuccarelli. The figures he painted in his compositions were often inspired by those of famous painters of the 17th century such as Guido Reni.

Henry Hoare's print collection at Stourhead is thought to have been hand-coloured in a collaborative effort by Hendrik van Lint and his son, Giacomo. In a manuscript catalogue the colouring of these prints is attributed to a 'Mr Studio'. The technique is consistent with Hendrik van Lint's paintings but evidence, including a recorded comment regarding the 'young Studio', suggests that the colouring may have been a family enterprise.

[rougelibellule]

A landscape painting refers to an artwork whose primary focus is natural scenery. Landscape was a main genre in the eastern art tradition by 4th century AD. However, in the west, till the 17th century, landscape was majorly confined to the background of portraits or paintings dealing principally with religious, mythological or historical subjects. Painters of the Dutch Golden Age; and French painters Claude Lorraine and Nicholas Poussin; were the first to explore landscape art as an independent genre. British painters John Constable and J.M.W. Turner made a key contribution in elevating the landscape genre, which till then was ranked fourth in order of importance out of five genres. In the 19th century, French Impressionism stormed the art world and many of its artists devoted most of their careers to studying and painting the landscape. Since then, landscape continues to be a major theme in western art. Here are the 10 most famous landscape paintings of all time including Constable’s Hay Wain, Hokusai’s Great Wave, Van Gogh’s Starry Night and Monet’s Water Lilies.

[c18adverts]

September 18, 1719 - Major Art Sale: All European Masters Must Go!

The most famous and great Judge of Painting, Mr. Quiryn Van Riesum of Rotterdam being dead, his Executors resolve to sell by publick Sale his Great and Princely Cabinet of Pictures, at his Dwelling House in Rotterdam, the 18th of October 1719. This Cabinet of Pictures is so Renown’d that most of the Princes in Europe have seen or heard of this noble Collection, consisting of all the famous Masters Works in Europe, viz. Permansiano, Palma Nechio, Guido Rene, Benedicto Castilion, Salvator Rosa, Borguinion, Claude Gelle Cald, The Lorraine, Garsion de Castel Franco, Mola, Jacomo Ponte Bassan, Paulo Veronese, Michael Angelo de la Bastaile, Biche, Fransisco Mile, Hans Holbeen, Hans Rottenhamer, Paulo Bril, luweelen Brugle, Bartholete, Francois Van Mitis, P. P. Ruben, A. Van Dyck, G. De Laresse, Bamboche, Crabe, Rambrant, Brauwer, Andries Both, John Both: With many other valuable Pictures of other famous Masters.

Daily Courant (September 18, 1719)

[rijksmuseum-art]

Italian Landscape with Umbrella Pines, 1807, Museum of the Netherlands

Voogd was known as the ‘Dutch Claude’, after the French painter Claude Lorrain, who was famous for his history landscapes bathed in golden light. Voogd painted the gardens of the Villa Borghese in Rome in the late afternoon. The sun casts long shadows, and the trees stand out sharply against the sky. Strolling figures are enjoying the magnificent sunset. In the foreground, an artist is seated against a tree and drawing.

http://hdl.handle.net/10934/RM0001.COLLECT.6477

[landscapeusa]

You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters

You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters – great british landscape painters | Welcome in order to my website, in this particular period I am going to explain to you about keyword. Now, this can be the primary photograph:

29 Greatest Baroque Painters And Their Work – DailyArtMagazine.com … – great british landscape painters | great british landscape painters

Think about picture previously mentioned? will be which awesome???. if you’re more dedicated and so, I’l d explain to you some graphic all over again down below:

So, if you’d like to obtain these awesome photos related to (You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters), simply click save link to save these pictures for your laptop. There’re all set for save, if you love and wish to own it, just click save logo on the page, and it’ll be instantly saved to your computer.} At last if you’d like to obtain unique and latest image related to (You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters), please follow us on google plus or book mark this site, we attempt our best to give you regular up-date with all new and fresh photos. We do hope you enjoy staying here. For most updates and recent information about (You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters) pictures, please kindly follow us on tweets, path, Instagram and google plus, or you mark this page on bookmark section, We try to give you up grade regularly with all new and fresh pics, love your searching, and find the perfect for you.

Here you are at our website, contentabove (You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters) published .  Nowadays we’re pleased to declare we have discovered an extremelyinteresting contentto be pointed out, namely (You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters) Many individuals trying to find specifics of(You Will Never Believe These Bizarre Truths Behind Great British Landscape Painters | great british landscape painters) and certainly one of them is you, is not it?

Victorian British Painting: John Constable – great british landscape painters | great british landscape painters

Emigrant ship, Dublin Bay – great british landscape painters | great british landscape painters

CLAUDE LORRAIN | ARCH BLOG – great british landscape painters | great british landscape painters

A dictionary of British landscape painters: From the 29th century to … – great british landscape painters | great british landscape painters

Landscape Painting | Affordable Art | Ruth Bunnewell, Alex Lowery … – great british landscape painters | great british landscape painters

The Great British Weather Painting by Kirstin Reay – great british landscape painters | great british landscape painters

Victorian British Painting: George Vicat Cole – great british landscape painters | great british landscape painters

British Museum Quality 29th Century Oil Painting Romantic Landscape … – great british landscape painters | great british landscape painters

English Landscape paintings – great british landscape painters | great british landscape painters

American Landscape Paintings of the 19th Century | Living … – great british landscape painters | great british landscape painters

In New Britain, Hudson River School Paintings From the Met – The New … – great british landscape painters | great british landscape painters

British Paintings & Famous British Artists – great british landscape painters | great british landscape painters

Art History News: Constable: The Making of a Master – great british landscape painters | great british landscape painters

India – Punjab – Amritsar – Golden Temple – Sikh – 269 – great british landscape painters | great british landscape painters

PAINTINGS GALLERIES: LANDSCAPES IN OIL : Hudson River … – great british landscape painters | great british landscape painters

29 Remarkable Paintings by Blind and Visually Impaired Artists … – great british landscape painters | great british landscape painters

The great British landscape | Countryman Magazine – great british landscape painters | great british landscape painters

Landscape Artists Who Inspire Contemporary Landscape Painting – great british landscape painters | great british landscape painters

17 Best images about ༻ artist- Michael-James-Smith- ༺ on … – great british landscape painters | great british landscape painters

Landscape Oil Paintings By British Artist Michael James Smith – great british landscape painters | great british landscape painters

George Cole (artist) – Wikipedia – great british landscape painters | great british landscape painters

Landscape paintings of England | A natural history of Britain – great british landscape painters | great british landscape painters

Victorian British Painting: Edmund Blair Leighton, ctd – great british landscape painters | great british landscape painters

The World's 12 Most Important Women Painters – great british landscape painters | great british landscape painters

Victorian British Painting: James Edwin Meadows – great british landscape painters | great british landscape painters

Benjamin Williams Leader Paintings Reproductions 1 – great british landscape painters | great british landscape painters

欧洲风景油画设计图__绘画书法_文化艺术_设计图库_昵图网nipic.com – great british landscape painters | great british landscape painters

British Experiences on the Grand Tour – Claude and Views of the … – great british landscape painters | great british landscape painters

from WordPress https://landscapeusa.club/you-will-never-believe-these-bizarre-truths-behind-great-british-landscape-painters-great-british-landscape-painters/

[180abroad]

Claude Lorrain

A Seaport at Sunrise (1674). Taken at the Alte Pinakothek in Munich.

This week, I wanted to do something a little special. Over the course of our trip, Jessica and I discovered many amazing European artists through Europe's many world-class museums. Our earliest and most enduring of these discoveries was Claude Lorrain, also known as Claude Gellée or simply Claude. He was born in France around 1600, but he spent most of his life Italy, where he became famous throughout the continent as a master of landscape painting.

We first discovered Claude at the Prado museum in Madrid, less than a week into our six-month adventure. The Prado has ten different paintings by Claude, but sadly we weren't allowed to take pictures of any of them. Fortunately, the museum has very high quality images of all their paintings available to view on their website.

All of the paintings were mesmerizing with their masterful use of light and perspective. Jessica was particularly drawn to two pieces: The Finding of Moses and The Embarkation of Saint Paula:

One of Claude's most important innovations was the way he painted the sun into the background--something that hadn't really be done before, at least to this level. Another thing he frequently did was to paint landscapes in what we would consider a portrait orientation. When he did this, he would place the horizon line about one-third of the way up the canvas, and the paintings were meant to be hung so that this line would be at the viewer's eye level. Standing in front of these paintings, you feel like you are standing on a small hill, looking down on an interesting scene with a towering sky above you and epic landscapes fading out into an infinite background.

There is a story going on--usually from a Biblical tale or Greek myth--but it always seems to be little more than a perfunctory justification for creating the beautiful landscape that the story is taking part in. (Which usually seems to resemble a fairytale version of Italy rather than ancient Greece or Palestine.)

The painting I was most struck by at the time was Landscape with the Temptations of Saint Anthony:

This painting is a bit different from Claude's usual style, and it doesn't seem to get as much love as many of his other paintings. But it's still one of my favorites. It is a dramatic night scene with a clear focus on a human subject. St. Anthony, illuminated by the light of God, prays for salvation while impish demons encircle his camp. In the background, a dark castle stand massive and menacing.

We made sure to write down Claude's name and the names of our favorite paintings. We already knew that he would be one of our favorite discoveries throughout the trip, but we didn't know just how much of him we would continue to see. (Not being especially familiar with Baroque landscape artists, we still didn't fully appreciate just how famous and influential Claude was.)

One of his paintings--originally commissioned by the Medici family--is on display at the Uffizi Gallery in Florence. At the Louvre in Paris, we had been excited to show his works to Jessica's mom (and my aunt), but frustratingly the wing that his paintings were in was closed that day. Later, we would succeed in showing his work to my mom (Jessica's aunt) at the National Gallery in London, which also has a huge collection of his paintings. And we would see his works again at the Alte Pinakothek in Munich.

Even when we didn't see Claude's works in a museum, we would notice landscapes painted by artists emulating his style. More often than not, the placards would confirm that the painting was done shortly after Claude's career by someone who had either studied under him or was moving in the same circles.

It's amazing how much you can start to appreciate the interconnectedness of art and culture when you can see it all in such a short timeframe.

[mia-paintings]

Landscape with Men Playing 'Mail à la Chicane', Paul Bril, 1624, Minneapolis Institute of Art: Paintings

Dutch Golden Age. Landscape with figures. Genre. In the foreground, a group of men playing ancient Dutch game of 'kolven' (golf). Middle distance, tower surrounded by a wall. In the distance, cottages and mountains. Rocky landscape to immediate left. Paul Bril was born into a family of artists in Antwerp, now the second-largest city in Belgium. Around 1580, he moved permanently to Rome, where he worked initially as a fresco painter in the Vatican. Gradually, he shifted from the Flemish painting traditions of his homeland to more classical compositions, filled with ruins and bucolic figures and imbued with a calmer, pastoral sentiment. These idealized landscapes made him famous and profoundly influenced Claude Lorrain, a French painter who moved to Rome around the time of Bril’s death, in 1626, and became the quintessential landscape painter of his time. Size: 26 5/8 x 34 3/4 in. (67.63 x 88.27 cm) (canvas) 25 9/16 x 34 13/16 in. (65 x 88.5 cm) (sight) 35 x 42 1/2 x 3 in. (88.9 x 107.95 x 7.62 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/589/

[cma-drawing]

View of the Acqua Acetosa (recto), Claude Lorrain , c. 1645, Cleveland Museum of Art: Drawings

This drawing represents a view of the famous Acqua Acetosa, a mineral spring that until the 1800s provided the favored drinking water of Romans who believed in its healing powers. Although topographically accurate, the sheet is not a plein-air study but a vision of an imagined Arcadian world carefully rendered by Gellée, one of the most original painters of the 1600s. The French-born artist spent his career painting and drawing the Roman Campagna and the Neopolitan coastline. Sublimely beautiful pen-and-ink and wash drawings such as this example reveal the artist's highly poetic response to the natural world and his unparalleled sensitivity to light. Size: Sheet: 26 x 40.5 cm (10 1/4 x 15 15/16 in.) Medium: pen and brown ink and brush and brown wash over graphite, framing lines in brown ink

https://clevelandart.org/art/1928.15.a