Claude lorrain style

Claude lorrain famous paintings
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French painter claude 5 letters

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The painter, draftsman, and printmaker Claude Gellée was born in a village in the Vosges region of northeastern France in the often contested duchy of Lorraine. In Italy, where he spent the greater part of his life, he came to be known as Claude le Lorrain, and for English-language speakers as Claude Lorrain or simply Claude. His biographers, Joachim von Sandrart (1606–1688) and Filippo Baldinucci (1625–1697), knew him in Rome but give differing accounts of the beginning of his career. His date of birth may have been as early as 1600, although 1604/5 is generally accepted. One of five sons, he lost his parents when a child and may have lived briefly with an older brother who was a printmaker in Freiburg. According to Sandrart, Claude’s first appearance in Rome was as a pastry cook. There, or in Naples, he apparently studied with the German-born artist Goffredo Wals (born ca. 1590–95, died 1638–40), by whose small-scale views () he was influenced, and later, in Rome, he is believed to have entered the studio of the view painter and decorator Agostino Tassi (ca. 1580–1644). Baldin

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Claude Lorrain

French painter, draughtsman and etcher (d. 1682)

Claude Lorrain (French:[klodlɔ.ʁɛ̃]; born Claude Gellée[ʒəle], called le Lorrain in French; traditionally just Claude in English; c. 1600 – 23 November 1682) was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in Italy, and is one of the earliest significant artists, aside from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes often transitioned into the more prestigious genre of history paintings by addition of a few small figures, typically representing a scene from the Bible or classical mythology.

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.^[1] He was not generally an innovator in landscape painting, except in introducing the sun and streaming sunlight into many paintings, which had been

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Claude Lorrain (Gellee) Biography In Details

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 the