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Claude Lorrain17th century etching black and white landscape scene forest trees figures sky1662
1662
About the Item
"Le Temps, Apollon, et les Saisons (Time, Apollo, and the Seasons)" is an etching by Claude Gellée (Le Lorrain). This etching is the Fifth state (A). This state is also in collections in Paris (BN, L, PP) and Washington; Mannocci cat. no. 43. The inscription reads: "Apollo in atto di obedire al tempo. La Primavera a cominciare il ballo. Lestate no manca del suo calore. L'aurunno colsuo licore / Seguita. Linvernno tiene la sua staggione, Claudio Gillee inven.Fec.Roma 1662 con licenza de super."
A powerful example of Claude's staging of landscape in the classical manner is the etching "Time,
Apollo, and the Seasons," done in 1662 after Poussin's painting of 1624-1636, "Dance to the Music of Time." As in Claude's paintings, the print foregrounds the activities of the mythological figures to depict a scene that highlights the theme of transience. The figures disport themselves within an idealized landscape setting. The nineteenth century critics and academicians who revered Claude and Poussin as the source for all precepts of style in landscape, called this type of landscape a "paysage compose," or composed landscape. The scholar Martin Sonnabend points out that "to achieve balance, rhythm, and overall harmony in inevitably meant to depart from the natural model and replace it with an 'ideal' invention. In Claude's work we can observe how he consistently used the same 'building blocks'--the lone tree, the tower, the antique edifice, the distant mountains, for example. the act of composition in Claude's art consisted in assembling these components in ever new and different ways."
8" x 10" art
20" x 23 1/4" frame
Biography
Claude Lorrain was born in c. 1604 into poverty in the town of Chamagne, Vosges in Lorraine—then the Duchy of Lorraine, an independent state until 1766 in northeastern France. He was one of five children. His name was Claude Gellée, however, he is known by the province in which he was born. He is often simply called Claude. Orphaned by the age of twelve, he went to live in Freiburg with an elder brother, Jean Gellée, a woodcarver. Claude went to Rome and then Naples from 1619 to 1621, where he apprenticed under Goffredo (Gottfried) Wals. He returned to Rome in April of 1625 and was apprenticed to Augustin Tassi.
Claude toured in Italy, France, and Germany, including his native Lorraine. Claude Deruet, painter to the Duke of Lorraine, kept him as an assistant for a year. He painted architectural subjects in Nancy at the Carmelite church.
In 1627, Claude returned to Rome. Two landscapes commissioned by Cardinal Bentivoglio earned him the patronage of Pope Urban VIII. From about 1627, he rapidly achieved fame as a painter of landscapes and seascapes. Apparently, he befriended his fellow Frenchman, Nicolas Poussin; together they would travel the Roman Campagna, sketching landscapes. Although both artists have been called landscape painters, they were history painters. In Poussin’s work, landscape is a backdrop for the figures that dominate the composition. Claude’s work is more landscape dominant, yet figures are always present.
To avoid the repetition of subjects and to combat copiers of his work, Claude made drawings of the pictures he sent to all his patrons. On the back of each drawing, he wrote the name of the purchaser. Called the Liber Veritatis (Book of Truth), the volume became a valuable study guide for Claude’s work.
Claude Lorrain died in Rome in November of 1682, leaving his wealth to his only surviving relatives, a nephew and an adopted daughter (possibly his niece).
Legacy
Landscape was not considered a serious subject for painting during Claude’s time. Despite his mastery of landscape and his legacy as one of the most accomplished landscape painters in Western art history, Claude was known during his time as a history painter, representing mythical and religious subjects. In seventeenth-century Europe, landscape, like still life and genre painting, reflected an aesthetic viewpoint that lacked moral seriousness. In the matter of the importance of landscape, Claude was prescient. He did not depict the uninhabited panoramas that were esteemed in later centuries, rather his works featured pastoral worlds populated by classical ruins or seascapes. To satisfy his patrons, his pictures include gods, heroes, and saints, even though his sketchbooks contain many drawings of the natural world. Joachim van Sandrart, a German artist and one of Claude’s biographers, described the artist’s working methods for capturing the essence of nature. He wrote that Claude “... studied his art with great seriousness and application; he tried by every means to penetrate nature, lying in the fields before the break of day and until night in order to learn to represent very exactly the red morning sky, sunrise and sunset and the evening hours. When he had well contemplated one or the other in the fields he immediately prepared his colours accordingly, returned home and applied them to the work he had in mind with much greater naturalness than anyone had ever done.”
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 - all amiable - all is amenity and repose; the calm sunshine of the heart"
- Creator:Claude Lorrain (1604 - 1682, French)
- Creation Year:1662
- Dimensions:Height: 20 in (50.8 cm)Width: 23.25 in (59.06 cm)
- Medium:
- Movement & Style:
- Period:Mid-17th Century
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:Milwaukee, WI
- Reference Number:Seller: 10693g1stDibs: LU605313405622
Claude Lorrain
Claude Lorrain, born Claude Gellée, was a French painter, draughtsman and engraver of the Baroque era. He spent most of his life in Italy and is admired for his achievements in landscape painting. He painted a pastoral world of fields and valleys not distant from castles and towns that entered into these quiet scenes. Landscape as a subject was distinctly nontraditional and secular during this time of religious and mythical iconography, and Gellée was certainly breaking with tradition. John Constable described the artist as the most perfect landscape painter the world ever saw and declared that in Claude’s landscape, “all is lovely, all amiable, all is amenity and repose; the calm sunshine of the heart." He passed away on November 23, 1682.
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