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218:"wash", usually brown but sometimes grey. Chalk is sometimes used for under-drawing, and white highlighting in various media may be employed, much less often other colours such as pink. These fall into three fairly distinct groups. Firstly there are large numbers of sketches, mostly of landscapes, and apparently very often done at the scene; these have been greatly admired, and influenced other artists. Then there are studies for paintings, of various degrees of finish, many clearly done before or during the process of painting, but others perhaps after that was complete. This was certainly the case for the last group, the 195 drawings recording finished paintings collected in his
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generally classical style, but without the attempt at archaeological rigour seen in
Poussin's equivalents. Elements are borrowed and worked up from real buildings, both ancient and modern, and in the absence of much knowledge of what an ancient palace facade looked like, his palaces are more like the late Renaissance Roman palaces many of his clients lived in. Buildings that are less clearly seen, such as the towers that often emerge above trees in his backgrounds, are often more like the vernacular and medieval buildings he would have seen around Rome.
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545:, who was in Rome from 1602, painted a number of "Landscape with..." subjects, drawn from mythology, religion and literature, as well as genre scenes. These usually have an open vista in one part of the composition, as well as a steep hill in another. Even when the action between the few small figures is violent, the landscape gives an impression of serenity. The compositions are careful and balanced, and look forward to Claude's. The
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521:, often on copper, where the figures were dominated by their landscape surroundings, which were very often dense woodland placed not far behind figures in the foreground. Paul Bril had begun to paint larger pictures where the size and balance between the elements, and the type of landscape used, is closer to Claude's work in the future, with an extensive open view behind much of the width of the picture.
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291:(1682â1728). Both Sandrart and Baldinucci knew the painter personally, but at periods some 50 years apart, respectively at the start of his career and shortly before his death. Sandrart knew him well and lived with him for a while, while Baldinucci was probably not intimate with him, and derived much of his information from Claude's nephew, who lived with the artist.
843:. 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
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228:). He produced over 40 etchings, often simplified versions of paintings, mainly before 1642. These served various purposes for him, but are now regarded as much less important than his drawings. He painted frescoes in his early career, which played an important part in making his reputation, but are now nearly all lost.
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efforts to improve, but without success; certainly there are numerous studies, typically for groups of figures, among his drawings. It has often been thought that he handed the figures in some works over to others to paint, but it is now generally agreed that there are few such cases. Baldinucci mentions
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Claude's lack of interest in avoiding anachronism is perhaps seen most clearly in the ships in his harbour scenes. Whether the subject, and the dress of the figures, is supposed to be contemporary, mythogical or from Roman or medieval history, the large ships are usually the same up-to-date merchant
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Claude only rarely painted topographical scenes showing the
Renaissance and Baroque Roman architecture still being created in his lifetime, but often borrowed from it to work up imaginary buildings. Most of the buildings near the foreground of his paintings are grand imagined temples and palaces in a
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From this point, Claude's reputation was secured. He went on to fulfill many important commissions, both
Italian and international. About 1636 he started cataloguing his works, making pen and wash drawings of nearly all his pictures as they were completed, although not always variant versions, and on
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By the end of the 1630s he was established as the leading landscapist in Italy, and enjoyed large fees for his work. His landscapes gradually became larger, but with fewer figures, more carefully painted, and produced at a lower rate. He was not generally an innovator in landscape painting, except in
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In 1650, Claude moved to a neighboring house in Via
Paolina (today Via del Babuino), where he lived until his death. The artist never married, but adopted an orphan child, Agnese, in 1658; she may well have been Claude's own daughter with a servant of the same name. Sons of Claude's brothers joined
340:), 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 (known as the rapist of
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Although virtually every painting contains figures, even if only a shepherd, their weakness has always been recognised, not least by Claude himself; according to
Baldinucci he joked that he charged for his landscapes, but gave the figures for free. According to Sandrart he had made considerable
391:) from 1629, already shows well-developed style and technique. In the next few years his reputation was growing steadily, as evidenced by commissions from the French ambassador in Rome (1633) and the King of Spain (1634â35). Baldinucci reported that a particularly important commission came from
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Sandrart's account of Claude's early years, however, is quite different, and modern scholars generally prefer this, or attempt to combine the two. According to
Sandrart, Claude did not do well at the village school and was apprenticed to a pastry baker. With a company of fellow cooks and bakers
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may have been a pupil of Paul Bril, and his influence is especially evident in Claude's earliest works, at a larger size, while some small works of about 1631 recall
Elsheimer. Initially Claude often includes more figures than was typical of his predecessors, despite his figure drawing being
869:, named after Lorrain in England although there is no indication he used or knew of it or anything similar, gave a framed and dark-tinted reflection of a real view, that was supposed to help artists produce works of art similar to his, and tourists to adjust views to a Claudian formula.
197:, and almost all his painting was done in Italy; before the late 19th century he was regarded as a painter of the "Roman School". His patrons were also mostly Italian, but after his death he became very popular with English collectors, and the UK retains a high proportion of his works.
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While the details of Claude's pre-1620s life remain unclear, most modern scholars agree that he was apprenticed to Wals around 1620â1622, and to Tassi from circa 1622/23 to 1625. Finally, Baldinucci reports that in 1625 Claude undertook a voyage back to
Lorraine to train with
662:) has figures almost as extreme. With the mid-20th fashion for medical diagnosis through art, it was suggested that Claude had developed an optical condition accounting for such effects, but this has been rejected by doctors and critics alike.
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Along with other seventeenth-century artists working in Rome, Claude was also influenced by the new interest in the genre of landscape that emerged in the mid-to-late sixteenth century within the Veneto; starting with the
Venetian born painter
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In his method, Lorrain would often use a grid of median and diagonal lines to place elements in the landscape in order to create a dynamic and harmonious composition in which landscape and architecture are balanced against empty space.
602:, both very common subjects in the "Landscape with.." genre. The pair to the latter is a very early harbour scene, already with tall classical buildings, a type of composition Claude was to use for the rest of his career.
835:); but it might be argued that not until Claude's generation, did landscape completely reflect an aesthetic viewpoint which was seen as completely autonomous in its moral purpose within the cultural world of Rome.
383:. Sandrart met Claude in the late 1620s and reported that by then the artist had a habit of sketching outdoors, particularly at dawn and at dusk, making oil studies on the spot. The first dated painting by Claude,
506:, a route apparently also taken by Lorrain some decades later. Matthijs died at 33 but Paul remained active in Rome until after Claude's arrival there, although any meeting between them has not been recorded.
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described Claude as "the most perfect landscape painter the world ever saw", and declared that in Claude's landscape "all is lovely â all amiable â all is amenity and repose; the calm sunshine of the heart".
417:, fell seriously ill, his condition becoming so serious that he drafted a will, but he managed to recover. He painted less after 1670, but works completed after that date include important pictures such as
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In this matter of the importance of landscape, Claude 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
682:. This view takes up the left-hand side of the painting, but on the right, behind a group of genre figures in modern dress (uniquely for Claude, these represent a scene of prostitution in the Dutch
678:(1632, NG 1319), which seems to represent the view from the roof of Claude's house, including his parish church and initial burial place of Santa Trinita del Monte, and other buildings such as the
541:, who earned the nickname in the city of Il giovane dei paesi (the young man of the landscapes). Following the integration of this tradition with other Northern sources, Bolognese artists such as
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many of these were in bound volumes, the inventory mentioning 12 bound books and a large "case" or folder of loose sheets. Five or six large bound volumes were left to his heirs including a
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in London, LV 67 and dated 1642, is one of the last of his figures to wear contemporary dress. Thereafter all of them wore "pastoral dress" or the 17th-century idea of ancient dress.
356:, working on the backgrounds of a lost fresco scheme, but left his studio comparatively soon, in 1626 or 1627. He returned to Rome and settled in a house in the Via Margutta, near the
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435:, his most important patron in his last years. The artist died in his house on 23 November 1682. He was originally buried in Trinita dei Monti, but his remains were moved in 1840 to
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873:, the inventor of the picturesque ideal, advocated the use of a Claude glass saying, "they give the object of nature a soft, mellow tinge like the colouring of that Master."
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observed their facing away from the object they wished to paint, commenting, "It is very typical of their attitude to Nature that such a position should be desirable."
725:, here apparently part of another palace. Behind that Claude repeats a palace he had used before, that borrows from several buildings in and around Rome, including the
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introducing the sun and streaming sunlight into many paintings, which had been rare before. He is now thought of as a French painter, but was born in the independent
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Claude's choice of both style and subject matter grew out of a tradition of landscape painting in Italy, mostly Rome, led by northern artists trained in the style of
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with an elder brother (Jean Gellée). Jean was an artist in inlay and taught Claude the rudiments of drawing. Claude then travelled to Italy, first working for
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Claude's tombstone gives 1600 as his year of birth, but contemporary sources indicate a later date, circa 1604 or 1605. He was born in the small village of
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458:, and an "animal album", all now broken up and dispersed, though as the sheets were numbered their contents have been largely reconstructed by scholars.
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the back of most drawings he wrote the name of the purchaser, not always sufficiently clearly to identify them now. This volume Claude named the
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the household in 1662 (Jean, son of Denis Gellée) and around 1680 (Joseph, son of
Melchior Gellée). In 1663 Claude, who suffered much from
762:), where Virgil's text specifies galleys. Ships in the background are more likely to attempt to reflect an ancient setting; in the London
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555:(c. 1604) is one of the best Italian landscapes of the start of the century, but perhaps more a forerunner of Poussin than Claude.
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in this context, but he was only born in 1623, and can only have taken on such work from the 1640s at best. The rider in the small
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The drawings of Claude : with an essay by Roger E. Fry and notes on the drawing reproduced, 1907, London: Burlington magazine
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Claude Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death.
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era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in
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1941:"CONSTABLE : impressions of land, sea and sky â John CONSTABLE â Landscape with goatherd and goats, after Claude"
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In his last years his figures tend to become ever more elongated, a process taken to an extreme in his last painting,
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Patrizia Tosini, Girolamo Muziano: dalla Maniera alla Natura, 1532â1592 (Ugo Bozzi Editore: 2008), pp. 17â77.
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One example of a semi-topographic painting with "modern" buildings (there are rather more such drawings) is
654:, says "The hunters are impossibly elongated â Ascanius, in particular, is absurdly top-heavy". Its pendant
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Claude glasses were widely used by tourists and amateur artists, who quickly became the targets of satire.
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in the National Gallery (1644, NG5) a palace facade expanding on the gateway built about 1570 between the
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According to Baldinucci, Claude's parents both died when he was twelve years old, and he then lived at
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portico, both of which are either wholly imaginary or at least not placed in their actual locations.
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Claude's earliest paintings draw from both these groups, being mostly rather smaller than later.
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Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées
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At his death, he owned only four of his paintings, but most of his drawings. Apart from the
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791:, Claude was innovative in including the Sun itself as a source of light in his paintings.
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e.g., to mention just those with identifiable buildings, Kitson, #s 39, 62, 63, 70, 71, 72
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399:. Four paintings were made for the Pope in 1635â1638, two large and two small on copper.
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by the addition of a few small figures, typically representing a scene from the Bible or
161:
in English; c. 1600 â 23 November 1682) was a French painter, draughtsman and
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768:(1648, NG 14) the ship at the centre of the composition is modern, the others less so.
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2260:., engraved by W. R. Smith for The Easter Gift, 1832, with a poetical illustration by
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Artcyclopedia, Claude Lorrain, Paintings in Museums and Public Art Galleries Worldwide
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made landscape vistas pre-eminent in some of their drawings and paintings (as well as
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were other northern landscapists associated with Bril, who had left Rome long before.
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537:. Interest in landscape first emerged in Rome in the work of their Brescian pupil
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Landscape with Apollo Guarding the Herds of Admetus and Mercury stealing them
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2054:. Farnham: Lund Humphries; in association with the Ashmolean Museum, Oxford.
1996:
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Kitson, Nos. 9, 10 and 14, all these now in England, the fourth in France.
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2046:. Vol. 6 (11th ed.). Cambridge University Press. p. 463.
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He was a prolific creator of drawings in pen and very often monochrome
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2125:
Ideal Landscape: Annibale Carracci, Nicolas Poussin and Claude Lorrain
745:, that has evidently been crumbling into ruins for several centuries.
2187:
2050:
Sonnabend, Martin and Whiteley, Jon, with Ruemelin, Christian. 2011.
1312:- Oil on canvas, 150,6 x 197,8 cm, Galleria Doria-Pamphili, Rome
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502:. Both specialized in landscapes, initially as backgrounds in large
1824:
Wine (1994), 12â14; Wine (2001), 124 (and note); Blunt, 275, n. 243
2075:(exhibition catalogue), 1994, National Gallery Publications Ltd,
1721:"Claude Lorrain / Coast View with Perseus and the Origin of Coral"
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Landscape with the Arrival of Aeneas before the City of Pallanteum
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2147:(exhibition from the British Museum), Yale University Press, 2007
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Wine, Humphrey (2001), National Gallery Catalogues (new series):
1605:
Kitson, 8, 32â51; Sonnabend & Whiteley, 57â83; Fry, 158â160;
1391:- Oil on canvas, 74,5 x 110,5 cm, Wallace Collection, London
1435:- Oil on canvas, 134,6 x 101,6 cm, Royal Collection, London
414:
379:, and had the opportunity to study nature in France, Italy, and
306:. He was the third of five sons of Jean Gellée and Anne Padose.
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1953:
James Buzard (2002). "The Grand Tour and after 1660â1840," in
1017:- Oil on canvas, 209 x 138 cm, Museo del Prado, Madrid
364:, remaining in that neighbourhood for the rest of his life.
2226:
Sterling and Francine Clark Art Institute 2007 exhibition,
2003:, 1981 edition (originally 1920), Oxford University Press,
1444:- Oil on canvas, 107 x 140 cm, Alte Pinakothek, Munich
1396:
Landscape with a dance (The Marriage of Isaac and Rebeccah)
1382:- Oil on canvas, 100 x 135 cm, GemÀldegalerie, Dresden
1360:- Oil on canvas, 74 x 98 cm, Swiss private collection
1925:
Buchholz, E. L., S. Kaeppele, K. Hille, and I. Stotland.
1812:
Kitson, 15; Sonnabend & Whiteley, Nos. 1 and 2; both
1470:- Oil on canvas, 72 x 96 cm, Alte Pinakothek, Munich
1411:- Oil on canvas, 5'9" x 7'5", one of the Altieri Claudes
1093:- Oil on canvas, 101.6 x 135.9 cm, Royal Collections
1479:- Oil on canvas 5'9" x 7'5", one of the Altieri Claudes
1407:
The Father of Psyche Sacrificing at the Temple of Apollo
421:(1674), painted for the celebrated collector Cardinal
1234:
Landscape with Cephalus and Procris reunited by Diana
2061:(exhibition catalogue), 2005, British Museum Press,
1666:
1664:
1662:
1207:- Howard University Gallery of Art, Washington D.C.
289:
Notizie de' professori del disegno da Cimabue in qua
2461:
2451:
Landscape with Ascanius Shooting the Stag of Sylvia
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616:
Landscape with Ascanius Shooting the Stag of Sylvia
590:More often than later, the figures were mere genre
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96:
88:
73:
51:
32:
2371:Landscape with St Paula of Rome Embarking at Ostia
765:Seaport with the Embarkation of the Queen of Sheba
754:vessels. Some large rowed galleys are seen, as in
77:21 November or 23 November 1682 (aged 77/78 or 82)
2443:Landscape with Psyche Outside the Palace of Cupid
1421:Landscape with Psyche Outside the Palace of Cupid
925:Landscape with Psyche Outside the Palace of Cupid
583:generally recognised as "notoriously feeble", as
431:, Claude's last painting, commissioned by Prince
1629:Kitson, 51â53; Sonnabend & Whiteley, 137â151
498:around 1575, and was soon joined by his brother
27:French painter, draughtsman and etcher (d. 1682)
419:Coast View with Perseus and the Origin of Coral
177:. His landscapes are usually turned into the
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2161:(NGA exhibition). New York, George Braziller.
1449:Landscape with Jacob Wrestling with the Angel
8:
2395:Seaport with the Embarkation of Saint Ursula
1153:The Trojan Women Setting Fire to their Fleet
517:These artists introduced the genre of small
2339:Landscape with the Temptation of St Anthony
2089:, 2001, National Gallery Publications Ltd,
1742:Sonnabend & Whiteley, 59; Kitson, 34â35
1330:Landscape with Apollo and the Cumaean Sybil
2331:Landscape with the Port of Santa Marinella
2291:
2277:
2269:
1426:- Oil on canvas, National Gallery, London
1192:View of the Church Santa TrinitĂ Dei Monti
1098:Embarkation of Saint Paula Romana at Ostia
741:a large stone temple in a fully developed
635:Landscape with an Imaginary View of Tivoli
275:The earliest biographies of Claude are in
40:
29:
1981:Art and Architecture in France, 1500â1700
1955:The Cambridge Companion to Travel Writing
1308:Landscape with Dancing Figures (The Mill)
1139:The Disembarkation of Cleopatra at Tarsus
1126:The Disembarkation of Cleopatra at Tarsus
915:, of which two painted versions are known
367:On his travels, Claude briefly stayed in
2403:The Trojan Women Set Fire to their Fleet
2228:Claude Lorrain: The Painter as Draftsman
2194:Claude's Biography, Context and Artworks
2145:Claude Lorrain: The Painter as Draftsman
2087:The Seventeenth Century French Paintings
1993:, 1949, page refs to Penguin ed. of 1961
1678:
1676:
952:Landscape with Merchants (The Shipwreck)
686:tradition), is a statue of Apollo and a
606:Figures and other non-landscape elements
2379:Landscape with the Burial of St Serapia
2108:Claude Lorrain â Selected Drawings
2052:Claude Lorrain: The Enchanted Landscape
1854:Claude Lorrain: The Enchanted Landscape
1760:Wine (2001), 33, 63; Wine (1994), 22â24
1616:
1614:
1565:
1035:Paysage avec le port de Santa Marinella
344:) had a large workshop specializing in
2184:68 artworks by or after Claude Lorrain
2120:. British Museum Publications, London.
2110:. Pennsylvania State University Press.
1571:
1569:
1492:- Oil on canvas 99.7 x 136.5 cm,
1321:- Oil on canvas, 38.7 x 58.1 cm,
913:Coast scene with a battle on a bridge
529:and the Dutch artist resident in both
2419:The Embarkation of the Queen of Sheba
2123:Lagerlöf, Margaretha Rossholm. 1990.
1488:Apollo and the Muses on Mount Helicon
1334:- Oil on canvas, 99,5 x 125 cm,
1274:The Embarkation of the Queen of Sheba
941:Apollo and the Muses on Mount Helicon
789:The Embarkation of the Queen of Sheba
699:The Embarkation of the Queen of Sheba
656:View of Carthage with Dido and Aeneas
257:(1646â47), Metropolitan Museum of Art
146:
137:
7:
2221:. New York: Robert Appleton Company.
1535:Landscape with Mercury, Argus and Lo
1506:Ascanius Shooting the Stag of Sylvia
1369:- Oil on canvas, 54.5 x 76 cm,
1347:- Oil on canvas, 113 x 157 cm,
1299:- Oil on canvas, 119 x 150 cm,
1238:- Oil on canvas, 102 x 132 cm,
1143:- Oil on canvas, 119 x 170 cm,
1102:- Oil on canvas, 211 x 145 cm,
1080:- Oil on canvas, 103 x 135 cm,
1065:- Oil on canvas, 119 x 150 cm,
647:Ascanius Shooting the Stag of Sylvia
548:Landscape with the Flight into Egypt
428:Ascanius Shooting the Stag of Sylvia
336:(Lorraine had a high reputation for
2363:Landscape with the Finding of Moses
2323:Landscape with St MarĂa de CervellĂł
1431:Coast Scene with the Rape of Europa
2127:. New Haven, Yale University Press
1365:Landscape with Hagar and the Angel
1225:- Oil on canvas, 55 x 45 cm,
1177:- Oil on canvas, 74 x 58 cm,
733:. It is pointless to question how
385:Landscape with Cattle and Peasants
25:
2387:Landscape with Tobias and Raphael
2347:Landscape with Apollo and Marsyas
2209:Herbermann, Charles, ed. (1913).
2118:Claude Lorrain, "Liber Veritatis"
2059:French Drawings: Clouet to Seurat
1387:Landscape with Apollo and Mercury
1356:Landscape with Mercury and Battus
1343:The Rest on the Flight into Egypt
2427:The Battle of the Milvian Bridge
2252:
2244:Works by or about Claude Lorrain
2170:
1939:Australia, National Gallery of.
992:- Metropolitan Museum, New York
572:Landscape with a Piping Shepherd
116:
2543:People from Vosges (department)
1378:Landscape with Acis and Galatea
1295:Landscape with Paris and Oenone
758:(one of the "Altieri Claudes",
650:, of which even its owner, the
328:, then joining the workshop of
270:Staatliche Kunsthalle Karlsruhe
2135:The Etchings of Claude Lorrain
2020:(exhibition catalogue), 1969,
1929:. Harry N. Abrams, 232. Print.
1709:Sonnabend, Whiteley, 2011, 15.
1691:Sonnabend, Whiteley, 2011, 28.
1670:Sonnabend, Whiteley, 2011, 19.
1656:Sonnabend & Whiteley, 9â10
1647:Sonnabend, Whiteley, 2011, 18.
1221:Mercury Stealing Apollo's Oxen
1216:â San Francisco Museum of Art
829:in his decorative frescoes of
772:Critical assessment and legacy
619:(1682), Claude's last painting
471:An Artist Studying from Nature
157:in French; traditionally just
46:Claude Lorrain's self-portrait
1:
2152:Claude Lorrain: The Paintings
2022:Arts Council of Great Britain
1638:Sonnabend, Whiteley, 2011, 9.
1285:Marriage of Isaac and Rebekah
1157:
1112:The Embarkation of St. Ursula
1028:Minneapolis Institute of Arts
2538:People from Lorraine (duchy)
2503:17th-century French painters
2073:Claude: The Poetic Landscape
1733:Kitson, 31; Wine (1994), 101
1061:Seaport at Sunset (Odysseus)
1773:. Sterling, 114-115. Print.
1494:Museum of Fine Arts, Boston
1290:- National Gallery, London
1279:- National Gallery, London
983:- National Gallery, London
945:Museum of Fine Arts, Boston
2559:
2033:"Claude of Lorraine"
1719:freelancis, gaspard from.
1371:Dunedin Public Art Gallery
1323:Metropolitan Museum of Art
1266:Metropolitan Museum of Art
1167:Metropolitan Museum of Art
973:Indianapolis Museum of Art
389:Philadelphia Museum of Art
266:Worship of the Golden Calf
245:Metropolitan Museum of Art
2523:French landscape painters
2212:"Claude de Lorrain"
2159:Claude Lorrain, 1600â1682
2157:Russell, H. Diane. 1982.
2028:Rossetti, William Michael
2018:The Art of Claude Lorrain
494:had arrived in Rome from
171:Dutch Golden Age painting
124:
115:
106:
39:
2262:Letitia Elizabeth Landon
2154:, Hawker Art Books, 1979
1769:Sanmiguel, David. (2003)
1584:technically part of the
1541:Utah Museum of Fine Arts
1461:, St. Petersburg, Russia
1212:View of Tivoli at Sunset
822:in his private drawings
787:As seen in his painting
598:probably of 1631, and a
2508:French Baroque painters
2150:Röthlisberger, Marcel,
2106:Chiarini, Marco. 1968.
2071:Wine, Humphrey (1994),
2043:EncyclopĂŠdia Britannica
1983:, 2nd ed. 1957, Penguin
1843:Ashmolean Press summary
1539:etching on laid paper,
1253:National Gallery of Art
1227:Galleria Doria-Pamphilj
979:Landscape with Goatherd
958:National Gallery of Art
433:Lorenzo Onofrio Colonna
2533:French Roman Catholics
1529:San Marino, California
1440:The Expulsion of Hagar
1247:The Judgement of Paris
997:Port with Villa Medici
947:
933:
927:(The Enchanted Castle)
916:
899:
897:Doria Pamphilj Gallery
784:
706:
620:
575:
478:
437:San Luigi dei Francesi
272:
258:
247:
211:
179:more prestigious genre
2315:The Flight into Egypt
2258:The Flight into Egypt
2218:Catholic Encyclopedia
2179:at Wikimedia Commons
2139:Yale University Press
1848:17 April 2016 at the
1475:The Landing of Aeneas
1174:Brook and Two Bridges
1003:Galleria degli Uffizi
966:The Flight into Egypt
939:
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779:
696:
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570:
475:Cincinnati Art Museum
469:
342:Artemisia Gentileschi
264:
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203:
2528:French male painters
1927:Art, a world history
1895:Wine (2001), 50â52;
1317:View of La Crescenza
782:view of the Campagna
721:is next door to the
393:Cardinal Bentivoglio
348:schemes in palaces.
277:Joachim von Sandrart
173:, to concentrate on
139:[klodlÉ.ÊÉÌ]
1255:at Washington D.C.
1204:Seaport with Castle
827:Baldassarre Peruzzi
660:Kunsthalle, Hamburg
574:, c. 1629â1632
527:Domenico Campagnola
302:, then part of the
187:classical mythology
2513:French draughtsmen
2435:The Rape of Europa
2204:Web Gallery of Art
1991:Landscape into Art
1874:Wine (2001), 122;
1525:Huntington Library
1022:Pastoral Landscape
960:, Washington, D.C.
948:
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785:
780:Wash drawing of a
707:
621:
600:Judgement of Paris
576:
488:Northern Mannerism
479:
462:Style and subjects
285:Filippo Baldinucci
273:
259:
248:
241:The Roman Campagna
212:
175:landscape painting
2480:
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2175:Media related to
2001:Vision and Design
1814:Duke of Buccleuch
1586:Holy Roman Empire
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812:Annibale Carracci
731:Palazzo Senatorio
639:Courtauld Gallery
596:Flight into Egypt
553:Annibale Carracci
508:Hans Rottenhammer
409:(Book of Truth).
362:Trinita dei Monti
304:Duchy of Lorraine
281:Teutsche Academie
205:Seaport at sunset
195:Duchy of Lorraine
183:history paintings
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67:Duchy of Lorraine
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804:Federico Zuccaro
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2057:Stein, Perrin,
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2014:Kitson, Michael
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1132:Musée du Louvre
1104:Museo del Prado
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971:oil on canvas.
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2441:
2433:
2425:
2417:
2409:
2401:
2393:
2385:
2377:
2369:
2361:
2355:Village FĂȘte
2353:
2345:
2337:
2329:
2321:
2313:
2299:
2266:
2227:
2216:
2186: at the
2169:
2158:
2151:
2144:
2134:
2124:
2117:
2107:
2086:
2072:
2058:
2051:
2041:
2017:
2000:
1990:
1980:
1954:
1949:
1934:
1926:
1921:
1912:
1903:
1891:
1882:
1870:
1861:
1853:
1838:
1829:
1820:
1808:
1799:
1791:Kitson, 13,
1787:
1778:
1770:
1765:
1756:
1747:
1738:
1729:
1714:
1705:
1696:
1687:
1652:
1643:
1634:
1625:
1601:
1592:
1580:
1554:Claude glass
1534:
1519:
1504:
1487:
1474:
1465:
1452:
1448:
1439:
1430:
1419:
1406:
1395:
1386:
1377:
1364:
1355:
1342:
1329:
1316:
1307:
1294:
1283:
1272:
1259:
1246:
1233:
1220:
1211:
1203:
1191:
1186:
1181:
1173:
1151:
1138:
1125:
1110:
1097:
1088:
1075:Village FĂȘte
1073:
1060:
1047:
1042:Petit Palais
1033:
1021:
1012:
996:
987:
978:
965:
951:
940:
923:
912:
906:
892:
875:
867:Claude glass
864:
861:Claude glass
852:
849:
837:
830:
793:
788:
786:
781:
763:
755:
752:
710:
708:
697:
688:Roman temple
675:
673:
669:
666:Architecture
655:
645:
643:
634:
627:
614:
589:
577:
571:
557:
546:
533:and Venice,
523:
516:
485:
470:
455:
451:
447:
443:
441:
426:
418:
411:
404:
401:
384:
366:
350:
334:
308:
293:
288:
280:
274:
265:
254:
240:
224:(now in the
219:
213:
204:
191:
158:
153:
152:
143:
130:
129:
82:Papal States
2498:1682 deaths
2473:(1635â1682)
2390:(1639â1640)
2382:(1639â1640)
2374:(1639â1640)
2366:(1639â1640)
1268:, New York
1195:- drawing,
1161: 1643
845:scenography
816:Domenichino
719:Roman Forum
563:Early works
543:Domenichino
448:Tivoli Book
318: [
283:(1675) and
216:watercolour
2487:Categories
2095:185709283X
2081:1857090462
2009:019281317X
1997:Fry, Roger
1971:References
1833:Kitson, 20
1682:Kitson, 13
1515:, Oxford.
1325:, New York
1319:(1648â50)
1262:(1646â47)
1249:(1645â46)
1141:(1642â43)
806:and later
482:Influences
369:Marseilles
338:pĂątisserie
154:le Lorrain
2406:(c. 1643)
2350:(c. 1639)
2342:(c. 1638)
2307:Paintings
1575:Kitson, 6
1537:(1662) â
1400:â Drawing
1373:, Dunedin
1134:, Paris.
1121:, London
1078:, (1639)
1056:, London
1038:, (1638)
1024:, (1638)
808:Elsheimer
794:In Rome,
737:finds in
585:Roger Fry
332:in Rome.
232:Biography
151:, called
111:Signature
2462:Drawings
2411:The Ford
2133:. 1988,
2116:. 1978.
2030:(1911).
2016:(1969),
1846:Archived
1782:Fry, 155
1548:See also
1242:, London
1106:, Madrid
1100:(1639)
1007:Florence
988:The Ford
929:(1664),
895:(1645),
820:Da Vinci
749:Shipping
735:Ascanius
729:and the
717:and the
702:(1648),
592:staffage
587:put it.
473:, 1639 (
311:Freiburg
296:Chamagne
268:(1653),
243:(1639),
207:(1639),
97:Movement
92:Painting
63:Chamagne
2246:at the
2040:(ed.).
1856:in 2011
1509:(1682)
1498:12.1050
1490:(1680)
1477:(1675)
1468:(1674)
1466:Seaport
1455:(1672)
1442:(1668)
1433:(1667)
1398:(1663)
1389:(1660)
1380:(1657)
1367:(1654)
1358:(1654)
1310:(1648)
1303:, Paris
1297:(1648)
1288:(1648)
1277:(1648)
1260:Sunrise
1236:(1645)
1223:(1645)
1214:(1644)
1147:, Paris
1128:(1642)
1115:(1641)
1084:, Paris
1069:, Paris
1063:(1639)
1050:(1639)
1048:Seaport
1015:(1638)
999:(1637)
990:(1636)
981:(1636)
954:(1630)
943:(1680)
711:Seaport
658:(1676,
637:in the
624:Figures
504:frescos
496:Antwerp
381:Bavaria
255:Sunrise
167:Baroque
165:of the
142:; born
135:French:
101:Baroque
2454:(1682)
2446:(1664)
2438:(1655)
2430:(1655)
2422:(1648)
2414:(1644)
2398:(1641)
2358:(1639)
2326:(1637)
2318:(1635)
2188:Art UK
2093:
2079:
2065:
2007:
1961:
1523:- The
1424:(1664)
1409:(1663)
1229:, Rome
969:(1635)
832:vedute
739:Latium
425:, and
377:Venice
375:, and
346:fresco
326:Naples
300:Vosges
209:Louvre
163:etcher
159:Claude
80:Rome,
2036:. In
1897:Image
1561:Notes
1453:Night
1169:, NY
911:137,
531:Padua
373:Genoa
322:]
2190:site
2091:ISBN
2077:ISBN
2063:ISBN
2005:ISBN
1959:ISBN
1852:for
1483:, UK
1415:, UK
865:The
814:and
802:and
796:Bril
510:and
500:Paul
415:gout
360:and
74:Died
52:Born
1451:or
825:or
551:by
324:in
287:'s
279:'s
181:of
2489::
2215:.
2137:.
1999:,
1989:,
1979:,
1957:.
1675:^
1661:^
1613:^
1568:^
1527:,
1511:-
1264:-
1251:-
1163:)
1158:c.
1117:-
1052:-
1040:-
1026:-
1005:,
1001:-
956:-
847:.
810:,
798:,
490:.
454:,
450:,
439:.
371:,
320:fr
298:,
189:.
65:,
2292:e
2285:t
2278:v
1943:.
1723:.
1500:)
1496:(
1156:(
477:)
387:(
133:(
20:)
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