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30.11.2014
On loan from the Drawings Collection of the Royal Institute of British Architects (RIBA), they had never been exhibited as a group before. The inscription on the back of this drawing states that the painting was executed in Rome for a client in Paris. Five views are of the Roman antiquities at Pola (now Pula) in Istria, Croatia, where Stuart and Revett practised their recording techniques while waiting for permission to travel from Venice into Greece.
His Turkish dress underlines the artists' presence on site and further suggests both their need to avoid drawing attention to themselves and the years of field study when their clothes would simply have worn out. While Revett produced the measured outlines of the ancient buildings Stuart took the opportunity of these vedute to record the landscape setting, the encroaching miscellany of later constructions, the local way of life and to document the extent of their own labours as archaeologists (no doubt, once again, to outdo his rival LeRoy). Building on the base of the ideal landscape created by his predecessors and contemporaries, particularly early Italian Baroque painter Annibale Carracci, fellow French Baroque painter Nicolas Poussin and Paul Bril, Claude Lorrain was perhaps the most influential landscape painter in the history of art and paved the way for generations of landscape painters to come.Claude had some immediate followers in Italy and France in the late 17th and early 18th centuries (most notably his pupil, Angeluccio, Salvatore Rosa, and Claude Joseph Vernet), but Claude's greatest influence was felt in England. The contrast between intense light in the background and the lyrical shadow in the foreground is characteristic of Claude’s landscapes, as is the building to the left, similar to many still visible in the Roman Campagna.
Heinz Curator of Drawings at the RIBA, for reading this article and making several helpful suggestions.
Stuart's mathematical calculations sharpened up the measured drawings of buildings that had been made by Revett. Another source of this continental influence was the landscape painter Francesco Zuccarelli (1702-88) who worked in Britain in the 1740s and between 1752 and 1773.
Stuart's landscape views also seem to have been sharpened up to outdo the views by LeRoy, whose volume was conceived more in the genre of philosophical travel literature. 1674-1747), his brother William or their nephew Joseph Goupy (1686-1763), Stuart worked as a fan painter in London until he was twenty-seven; he then walked to Rome, painting fans as he went to pay his way.


Collectors also helped introduce the medium to Britain, notably William Windham who, in 1742, returned from Italy to Felbrigg in Norfolk with twenty-six gouaches of scenes near Rome, painted by Giovanni Battista Busiri (1698-1757). His gifts as a landscape painter of detail and colour were put to better use in enriching his designs for interiors at Kedleston. Far more familiar today are the images of another rival, the fantastical views of Rome by G. Particularly popular among gentlemen on the Grand Tour were the gouache views of Roman monuments painted by Charles-Louis Clerisseau (1721–1820) in Italy between 1749 and 1767.
These drawings range from extemporaneous sketches drafted on the spot during Claude's youthful romps through the fields surrounding roam, to carefully planned preparatory drawings for final compositions.Some of Claude's most interesting drawings include those he executed for his famous Liber Veritatis, or Book of Truth.
However, they are worthy of attention and further research in their own right as a contribution to the history of British landscape painting, for their origins in the art of decorating fans, for the unusual use of gouache, and for their exceptional ethnographical content.
Like his contemporary and close friend Nicolas Poussin, however, Claude actually spent the majority of his life and career in Rome, not in France; nonetheless, Claude's early childhood in the tumultuous region of la Lorraine would undoubtedly have had an affect on the artist.
As none of his easel paintings are located today, these gouaches now provide the best evidence of Stuart's abilities as a landscape painter.
Along with Poussin, Claude helped to define the classicizing tendencies of French Baroque art.Claude Lorrain's paintings are absolute points of reference in the genre of landscape.
Building on the foundation laid for him by artists like Titian, Paul Bril and Annibale Carracci, Lorrain was the bold leader of the 17th century ideal landscape. On the contrary, a careful look at Claude's paintings will reveal a rather surprising artistic journey.Claude's early paintings are steeped in the northern European landscape tradition, complete with charming picturesque details and compositional surprises. As is unsurprising for an artist who studied and worked in Rome, however, as Claude matured his paintings became increasingly classical in tone and theme.


At the tender age of 13, the boy decided to take his chance in the big city.Claude arrived in Rome probably around 1617, where he initially found employment in a culinary capacity. A talent for drawing and painting must have quickly been discovered, however, because by the next year Claude had moved to Naples to study under a successful German artist.
Luckily for Claude, Rome's reigning king of the landscape, the Flemish Baroque painter Paul Bril, had recently passed away, leaving some very enviable shoes to fill.Claude spent his early 20s roaming the Roman countryside, making prodigious amounts of sketches. Claude Lorrain Biography Claude Lorrain Style and Technique Ideal View of Tivoli Claude Lorrain Landscape with Acis and Galathe Claude Lorrain Morning in the Harbor Claude LorrainClaude Lorrain's paintings are perfect examples of the genre known as the idealized landscape, a type of painting pioneered by artists like Annibale Carracci and Domenichino, and perfected by Claude and Poussin. 42 [which records this painting] as "A Landscape traversed by a River, beyond which is a Temple on a rising ground.
Claude Lorrain Style and Technique Who or What Influenced Claude Lorrain Coastal Landscape Paul Bril Adam Elsheimer Frankfurt The Birth of Adonis Titian Landscape with Smiling Sunrise Annibale CarracciClaude Lorrain's luminous, hauntingly beautiful landscape paintings may be pioneering works of art in the genre of landscape, but Claude didn't get there alone. His widely sought-after landscapes blend a northern dynamism and drama with an Italianate classicism.Claude seems to have desired to fill the master's shoes as Rome's next great landscape painter after putting down roots in the city around 1626. Local Roman artists continued in Claude's cool, classicizing vein, while Dutch and Flemish artists took Claude's style with them back up north, where it was blended with their own local painting traditions. Turner: This Romantic artist is widely regarded as the landscape painter of all time, perhaps even edging out Claude Lorrain in terms of historical significance.




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