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All Claude Lorrain Oil Paintings


 
 
Claude Lorrain Seaport with the embarkation of Saint Ursula oil painting reproduction


Seaport with the embarkation of Saint Ursula
mk82 1641 Oil on canvas 48.6x113.0cm National Gallery London
new9/Claude Lorrain-672445.jpgPainting ID::  33115
 

 

 
   
      

All Claude Lorrain Oil Paintings


 
 
Claude Lorrain Seaport with the Embarkation of Saint Ursula oil painting reproduction


Seaport with the Embarkation of Saint Ursula
mk218 1641 Oil on canvas 113x149cm
new18/Claude Lorrain-697233.jpgPainting ID::  51360
 

 

 
   
      

All Claude Lorrain Oil Paintings


 
 
Claude Lorrain Seaport with the Embarkation of Saint Ursula oil painting reproduction


Seaport with the Embarkation of Saint Ursula
Date 1641(1641) Medium Oil on canvas Dimensions 113 x 149 cm
new25/Claude Lorrain-358835.jpgPainting ID::  85132
 

 

 
   
      

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"
Seaport with the Embarkation of Saint Ursula
Date 1641(1641) Medium Oil on canvas Dimensions 113 x 149 cm

Related Paintings to Claude Lorrain :.
| Donnino and Agnolo di Domenico del Mazziere - Lucretia Announces her Suicide, c. 1505-10 | Peter Paul Rubens202 | Mariotto Albertinelli (1474-1515) -- Madonna and Child with Saints Jerome and Zenobius | Meissonier, Jean Louis Ernest-Josefa Manzanedo e Intentas de Mitjans | Luca Signorelli, Italian (active central Italy), first documented 1470, died 1523 -- The Adoration of the Shepherds | | The Pont du Gard AF | Rhaetian Railway, Davos | Seaside in Palavas | Arab or Arabic people and life. Orientalism oil paintings 34 | Domine,quo vadis |


        

 

 

 

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