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    Delphi Complete Paintings of Claude Lorrain (Illustrated)
    Delphi Complete Paintings of Claude Lorrain (Illustrated)
    Delphi Complete Paintings of Claude Lorrain (Illustrated)
    Ebook492 pages2 hours

    Delphi Complete Paintings of Claude Lorrain (Illustrated)

    By Peter Russell and Claude Gellée

    ()

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    About this ebook

    Revered by artists and collectors since the seventeenth century, Claude Lorrain was a master of landscape painting, raising the reputation of the art form to new heights. His paintings present idealised views of nature, governed by Classical concepts and fuelled by the inspiration of the Roman Campagna. Claude’s special contribution was the poetic rendering of light, which would particularly influence the Romantic movement and change the course of art. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Claude’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)


    * The complete paintings of Claude Lorrain — over 200 paintings, fully indexed and arranged in chronological and alphabetical order
    * Includes reproductions of rare works
    * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
    * Enlarged ‘Detail’ images, allowing you to explore Claude’s celebrated works in detail, as featured in traditional art books
    * Hundreds of images in colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
    * Special chronological and alphabetical contents tables for the paintings
    * Easily locate the paintings you wish to view
    * Includes a selection of Claude's drawings - explore the artist’s varied works
    * Features two bonus biographies, including George Grahame's seminal illustrated study of the artist - discover Claude's world


    Please visit www.delphiclassics.com to browse through our range of exciting e-Art books


    CONTENTS:


    The Highlights
    RIVER LANDSCAPE
    HARBOUR SCENE WITH A VIEW OF THE CAPITOLINE HILL
    THE ROMAN FORUM
    PASTORAL LANDSCAPE
    AN ARTIST STUDYING FROM NATURE
    SEAPORT AT SUNSET
    LANDSCAPE WITH APOLLO GUARDING THE HERDS OF ADMETUS
    SUNRISE
    THE MARRIAGE OF ISAAC AND REBECCA
    THE EMBARKATION OF THE QUEEN OF SHEBA
    LANDSCAPE WITH DAVID AND THE THREE HEROES
    THE ENCHANTED CASTLE
    PASTORAL LANDSCAPE WITH A FLIGHT INTO EGYPT
    COAST VIEW OF DELOS WITH AENEAS
    THE ARRIVAL OF AENEAS AT PALLANTEUM
    LANDSCAPE WITH ASCANIUS SHOOTING THE STAG OF SILVIA


    The Paintings
    THE COMPLETE PAINTINGS
    ALPHABETICAL LIST OF PAINTINGS


    The Drawings
    LIST OF DRAWINGS


    The Biographies
    CLAUDE LORRAIN: PAINTER AND ETCHER by George Grahame
    BRIEF BIOGRAPHY: CLAUDE OF LORRAIN by William Michael Rossetti


    Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set


    LanguageEnglish
    PublisherPublishdrive
    Release dateFeb 27, 2017
    ISBN9781786565051
    Delphi Complete Paintings of Claude Lorrain (Illustrated)

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      Book preview

      Delphi Complete Paintings of Claude Lorrain (Illustrated) - Peter Russell

      Claude Lorrain

      (c. 1600-1682)

      Contents

      The Highlights

      RIVER LANDSCAPE

      HARBOUR SCENE WITH A VIEW OF THE CAPITOLINE HILL

      THE ROMAN FORUM

      PASTORAL LANDSCAPE

      AN ARTIST STUDYING FROM NATURE

      SEAPORT AT SUNSET

      LANDSCAPE WITH APOLLO GUARDING THE HERDS OF ADMETUS

      SUNRISE

      THE MARRIAGE OF ISAAC AND REBECCA

      THE EMBARKATION OF THE QUEEN OF SHEBA

      LANDSCAPE WITH DAVID AND THE THREE HEROES

      THE ENCHANTED CASTLE

      PASTORAL LANDSCAPE WITH A FLIGHT INTO EGYPT

      COAST VIEW OF DELOS WITH AENEAS

      THE ARRIVAL OF AENEAS AT PALLANTEUM

      LANDSCAPE WITH ASCANIUS SHOOTING THE STAG OF SILVIA

      The Paintings

      THE COMPLETE PAINTINGS

      ALPHABETICAL LIST OF PAINTINGS

      The Drawings

      LIST OF DRAWINGS

      The Biographies

      CLAUDE LORRAIN: PAINTER AND ETCHER by George Grahame

      BRIEF BIOGRAPHY: CLAUDE OF LORRAIN by William Michael Rossetti

      The Delphi Classics Catalogue

      © Delphi Classics 2017

      Version 1

      Masters of Art Series

      Claude Lorrain

      By Delphi Classics, 2017

      COPYRIGHT

      Masters of Art - Claude Lorrain

      First published in the United Kingdom in 2017 by Delphi Classics.

      © Delphi Classics, 2017.

      All rights reserved.  No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published.

      ISBN: 978 1 78656 505 1

      Delphi Classics

      is an imprint of

      Delphi Publishing Ltd

      Hastings, East Sussex

      United Kingdom

      Contact: sales@delphiclassics.com

      www.delphiclassics.com

      The Highlights

      Chamagne, Vosges (formerly part of the Duchy of Lorraine), a small village — Claude’s birthplace

      Early engraving of Claude

      THE HIGHLIGHTS

      In this section, a sample of Claude’s most celebrated works is provided, with concise introductions, special ‘detail’ reproductions and additional biographical images.

      RIVER LANDSCAPE

      Claude’s tombstone gives 1600 as the year of his birth, though contemporary sources indicate a later date, c. 1604 or 1605. The third of five sons of Jean Gellée and Anne Padose, he was born in the small village of Chamagne, Vosges, then part of the Duchy of Lorraine, in the north-east of France. According to Baldinucci, an early biographer, Claude’s parents both died when he was twelve years old and from then he lived at Freiburg with an elder brother, who was an artist in inlay and taught Claude the rudiments of drawing. Claude then travelled to Italy, first working for Goffredo Wals in Naples, before joining the workshop of Agostino Tassi in Rome. The work of both artists would leave a lasting impression on the young painter.

      Another biographer, Joachim von Sandrart, a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age, gives a different version of accounts for Claude’s childhood. Sandrart claims Claude did not fare well at the village school and was apprenticed to a pastry baker, due to his high reputation for patisserie. With a company of fellow cooks and bakers, Claude travelled to Rome and was eventually employed as servant and cook by Tassi, who at some point converted him into an apprentice and taught him drawing and painting. Both Wals and Tassi were landscapists, the former very obscure and producing small works, while Tassi (now infamously known as the rapist of Baroque artist Artemisia Gentileschi) had a large workshop, specialising in fresco schemes in palaces.

      Though the details of Claude’s early life remain unclear, most modern scholars agree that he was apprenticed to Wals at some point in the early 1620’s and to Tassi from c. 1624. Finally, Baldinucci reports that in 1625 Claude undertook a voyage back to Lorraine to train with Claude Deruet, working on the backgrounds of a lost fresco scheme, but he left his studio comparatively soon, in 1626 or 1627. Claude returned to Rome and settled in a house in the Via Margutta, near the Spanish Steps and Trinita dei Monti, remaining in that neighbourhood for the rest of his life.

      On his travels, Claude briefly stayed in Marseilles, Genoa and Venice, and had the opportunity to closely study the countryside of France, Italy and Bavaria. Sandrart met Claude in the late 1620’s and reported that by then the artist had a habit of sketching outdoors, particularly at dawn and at dusk, making oil studies en plein air. The first dated painting by Claude, River Landscape (1629), now held in the Philadelphia Museum of Art, already reveals a well-developed style and technique. The use of framing trees, crossing diagonals and bright highlights reveal the influence of Claude’s former master Tassi. The canvas evinces the artist’s early concern with naturalism: from the very start of his career he was interested in representing nature as faithfully as possible. Every tree is individualistic, with special characteristics in its trunk, foliage, colouring and leaves. The painting is also innovative in its treatment of light. The fall of light on the backs of the animals, the lucent stripes on the herdsmen and the effect of light filling the landscape in the distance, leading up to the faint blue mountains, all hint at this young artist’s extraordinary talent. The juxtaposition of black shadow and natural sunlight was an original feature and soon won Claude many admirers and patrons.

      Detail

      Detail

      Detail

      Detail

      ‘The Coral Fishers’ by Agostino Tassi, c. 1622 — the early influence of Claude’s former master can be seen in the use of framing trees and diagonals.

      HARBOUR SCENE WITH A VIEW OF THE CAPITOLINE HILL

      Claude arrived in Rome in c. 1617. After his first, youthful paintings, his style matured, and he began work on what would later be regarded as his Ports series. These canvases are notable for their strong symmetry, mastery of central perspective, fantastical architecture and a preoccupation with deep spatial recessions. Claude painted only one port portraying the Capitoline in Rome, which forms an imaginary maritime scene. Nevertheless, the painted architecture is unquestionably the Capitoline and not one of vaguely classicising Palladian or Raphaelesque images found in so many other paintings in the early seventeenth century.

      Completed in 1636 and held today in Paris’ Musée du Louvre, Harbour Scene with a View of the Capitoline Hill was commissioned by Phillipe de Béthune, the French ambassador to Rome and Claude’s first major patron. Béthune owned a large collection of paintings and sculptures, and he was currently enjoying the fruits of a wealthy retirement in his chateau at Selles. No doubt, Claude’s paintings of old Rome struck a resonant cord in Béthune, who had made his fortune working in the Eternal City.

      The Roman arch, its ancient stone splendour balanced with overgrowing grass, is imaginary and has been added as a framing technique by the artist. Beside a watery lagoon, we can see an accurate view of the architecture of the Capitoline Hill. However, the most engaging elements of the painting are the groups of diverse Roman citizens represented in such fine detail. A wine seller offers a glass of wine to a prospective customer, a jaunty porcelain seller attempts to sells his wares, while a fortune teller plies her trade further in the background and even a procuress can be seen negotiating. The scene teems with life and offers a very different style of image compared to the more sombre, dark tinted engravings of Rome that were customarily on offer for the wealthy tourist to purchase as a memento of their travels.

      Detail

      Detail

      Detail

      Detail

      Detail

      THE ROMAN FORUM

      In the early 1630’s Claude’s reputation was growing steadily, as shown by commissions from the French ambassador in Rome and the King of Spain. The early biographer Baldinucci reported that a particularly important commission came from Cardinal Bentivoglio, who was impressed by the two landscapes Claude painted for him, and recommended the artist to Pope Urban VIII. Four paintings were made for the Pope between 1635 and 1638, two large and two small on copper. Also commissioned by Philippe de Béthune, The Roman Forum (1636) offers Claude’s only wholly accurate rendering of a Roman scene, much in the manner of the Flemish artist Paul Bril (1554-1626), whose works influenced several of Claude’s early canvases. His style and subject matter shifted to a tradition of landscape painting in Rome that was led by northern artists trained in the style of Northern Mannerism. Bril specialised in landscapes, initially as backgrounds in large frescos, the same route taken by Claude some decades later. Bril remained active in Rome until after Claude’s arrival, though any meeting between them has not been recorded.

      Artists like Bril introduced the genre of small cabinet pictures, often on copper, where the figures were dominated by their landscape surroundings, often featuring dense woodland placed not far behind figures in the foreground. Bril had begun to paint larger pictures where the size and balance between the elements and the type of landscape used is similar to Claude’s work, with an extensive open view behind much of the width of the picture.

      The Roman Forum presents a precise view of the ancient forum, depicting on the left the Arch of Septimus Severus, followed by the Arch of Titus at the far end of the forum.  In the middle distance we can see the columns of the Temple of Castor and Pollux, while to the right in the foreground are the columns of the Temple of Saturn. Claude employs a low viewpoint, allowing us to gaze over the wide expanse of the ancient ruins and his use of atmospheric light lends the scene a charge of realism. Unlike the more brightly coloured paintings of Bril, Claude conjures a vivid piece of everyday life, innovative in its new attention to light and precise detail.

      Detail

      Detail

      Detail

      Detail

      ‘View of Bracciano’ by Paul Bril, c. 1620

      Self portrait of Paul Bril, 1595-1600

      PASTORAL LANDSCAPE

      Completed in 1638, Pastoral Landscape, displayed today in the Minneapolis Institute of Arts, is one of the many canvases Claude completed on the pastoral theme during the late 1630’s and early 1640’s. It is a virtuoso performance by an artist at the height of his youthful promise. In its archetypal nostalgia for the simplicity of lost Arcadian life and its fascination with light and atmosphere, Claude perfectly conveys the mood of Virgil’s Eclogues. The painting represents two goat herders seated on the left bank of a river amidst their flock. There are classical ruins to the left side and others further back, faintly glimpsed in the background left centre on a hillside. Across the river, two pairs of deer rest

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