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"  Related Paintings of Claude Lorrain :. | Landscape with Ascanius Shooting the Stag (mk17) | The Expulsion of Hagar | A Seaport | Harbour Scene at Sunset fg | Wooded View (mk17) |
Related Artists:
LA HIRE, Laurent de
French Baroque Era Painter, 1606-1656
E.Munier
French 1810-1895
William Westall
English painter and engraver 1781-1850 was an English artist who travelled aboard HMS Investigator on her voyage to Australia. Westall was born in Hertford, England. Westall, like the other botanical artist on HMS Investigator Ferdinand Bauer, was born into an artistic family. His older half brother Richard, was a member of the Royal Academy, and assisted him in securing a place for his younger half brother at the Royal Academy in 1799. During his studies at the Royal Academy Westall's work came to the attention of Joseph Banks, who was at the time keen to find a landscape artist for Matthew Flinders' expedition aboard HMS Investigator. With the support of Banks, Westall was appointed by the Admiralty in London as landscape and topographical artist on HMS Investigator. In 1801, at the age of 19, Westall found himself aboard HMS Investigator. The subsequent voyage of discovery to Terra Australise, has in time come to be regarded as one of the notable scientific and botanical studies ever undertaken. William Westall, King George's Sound in Albany, Western AustraliaWestall began sketching the Australian coast, south of Cape Leeuwin and later on Monday 7 December 1801, King George's Sound, Western Australia, thereby becoming one of the first professional artists to draw the Australian landscape painting. Many of the sketches that Westall created were coastal profiles, to assist with the important task of mapping Australian coastline. The subsequent circumnavigation of Australia took Westall from Cape Leeuwin in Western Australia, across the Great Australian Bight to the South Australian gulf country, to Kangaroo Island, and thence to Port Jackson and the Gulf of Carpentaria. Particularly notable amongst the works created by Westall during the voyage are his accurate portraits of Aboriginal people and the watercolours of their cave paintings, the first European artist to depict the cave paintings.