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 :. | Country cape with the father of Psyche that at Apollo sacrifices | Landscape with Dancing Satyrs and Nymphs | Landscape with a the Penitent Magdalen | Harbour Scene gf | Figures behind Plants (mk17) |
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Franz Ittenbach
(April 18, 1813 - December 1, 1879) was a German religious painter from Königswinter, North Rhine-Westphalia, at the foot of the Drachenfels. Ittenbach began his art education as a student of Kaufmann, then left to study under Franz Katz in Cologne. In 1832, Ittenbach became a pupil, at the age of 19, of the Desseldorf Academy, where he also received private lessons from its president, Schadow. He was a member of the Nazarene movement and associated himself mainly with three of his friends and fellow-students: Karl and Andreas Meller, and Ernst Deger. The four men travelled about in Germany, studying and painting together. From 1839 to 1842, Ittenbach lived in Italy. On his return, he stayed in Munich for some time. In 1849, he returned to Desseldorf. From 1859 until his death, he was a member of the artist club "Malkasten". Ittenbach was exceedingly religious and persistently declined any commissions for mythological or pagan subjects. As a rule, he devoted his energies exclusively to church decoration. He would precede the execution of his greatest works with devout religious exercises, including confession and communion. His finest paintings are said to be found at Bonn, in the church of St. Remigius, and in Breslau in a church dedicated to the same saint. There is also a remarkable "Holy Family" dated 1861, painted for Prince Liechtenstein in his private chapel near Vienna. Most of his other works can be found in various Catholic churches in Germany. His only important fresco was painted in 1844 in a church at Remagen. Ittenbach was a popular painter in court circles, a member of most of the European academies, and the recipient of many medals and decorations. He painted a few portraits, but they were unimportant; his main work was his altar-pieces.
Julius Hubner
1806 Oels-1882 Loschwitz ,was a German historical painter of the Dusseldorf school. He was also known as a poet and the father of Emil Hubner, a distinguished classical scholar. Hubner was born at Oels in Silesia, studied at the Academy School in Berlin and under Schadow there and in Dusseldorf. He first attracted attention by his picture of "Ruth and Boaz" (1825). He traveled in Italy and resided for the most part at Dusseldorf until 1839. In that year he settled at Dresden, becoming a professor in the Academy of Arts in 1841 and director of the Gallery of Paintings in 1871. He obtained the great gold medal at Brussels in 1851. He died in Loschwitz.
louis masreliez
Louis Masreliez (Adrien Louis Masreliez) född 1748 i Paris död 19 mars 1810, var en svensk målare, tecknare, grafiker och inredningsarkitekt. Han var äldre bror till ornamentsbildhuggaren Jean Baptiste Masreliez och son till Jacques Adrien Masreliez, också han en ornamentsbildhuggare, som kallats till Sverige från Frankrike för att medverka vid uppförandet av Stockholms slott. Jacques Adrien Masreliez grundade således konstnärssläkten Masreliez i Sverige. Louis Masreliez kom till Sverige 1753. Han började sin utbildning vid Ritarakademien vid 10 års ålder. Vid ritarakademien saknades utbildning i måleri, varför Masreliez inledde studier vid Lorens Gottmans verkstad. 1769 tilldelades han ett statligt studiestipendium som han använde till en studieresa till Paris och Bologna. 1773 lämnade han Bologna och bosatte sig i Paris, där han bodde under åtta år. Han återvände till Sverige 1782, där han blev ledamot av Konstakademien och året därpå professor i historiemåleri. Han blev rektor för akademien 1802 och direktör 1805. Till hans genombrottsverk räknas Gustav III:s paviljong i Hagaparken