text stringlengths 0 3.13k |
|---|
Around a dozen works are securely attributed to Cimabue, with several less secure attributions. None are signed or dated. |
Crucifixes |
Crucifix (Cimabue, Santa Croce), c. 1265, Basilica di Santa Croce, Florence |
Crucifix (Cimabue, Arezzo), c. 1267–1271, Basilica of San Domenico, Arezzo |
Frescos c.1277–1280 in the Basilica of Saint Francis of Assisi, Assisi |
Nativity and Betrothal of the Virgin |
Choir, central vault, right transept |
Three surviving panels (of eight) from the Diptych of devotion, c.1280 |
The Mocking of Christ, Musée du Louvre, Paris |
Virgin and Child with Two Angels, National Gallery, London |
The Flagellation of Christ, Frick Collection, New York |
Maestà or Virgin and Child Enthroned |
Maestà (Cimabue), c.1280, Pisa, now Louvre |
Maestà of Santa Maria dei Servi, 1280–1285, Basilica di Santa Maria dei Servi, Bologna |
? Madonna di Castelfiorentino, c.1283–1284, Museo di Santa Verdiana, Castelfiorentino |
Santa Trinita, c. 1290–1300, Santa Trinita, Florence, now Uffizi, Florence |
Mosaic ceiling at Florence Baptistery, c.1300 |
Mosaic of Christ enthroned with the Virgin and St John, Pisa Cathedral, 1301–1302 |
Gallery |
References |
Citations |
Sources |
Adams, Laurie Schneider (2001). Italian Renaissance Art. Boulder, Colorado: Westview Press. p. 420. ISBN 0-8133-3690-2. |
Rossetti, William Michael (1911). "Cimabue, Giovanni" . Encyclopædia Britannica. Vol. 6 (11th ed.). p. 366-367. |
Vasari, Giorgio (1987). Lives of the Artists. Translated by George Bull. Penguin Classics. ISBN 9780140445008. |
Vaughn, William (2000). Encyclopedia of Artists. Oxford University Press. ISBN 0-19-521572-9. |
External links |
Media related to Cimabue at Wikimedia Commons |
Cimabue. Pictures and Biography |
Cimabue Santa Trinita Madonna (1280–1290) Archived 15 October 2014 at the Wayback Machine. A video discussion about the painting from smarthistory.khanacademy.org |
"Cimabue, Giovanni" . The New Student's Reference Work . 1914. |
Claude Lorrain (French: [klod lɔ.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... |
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. He was not generally an innovator in landscape painting, except in introducing the su... |
He was a prolific creator of drawings in pen and very often monochrome watercolour "wash", usually brown but sometimes grey. Chalk is sometimes used for under-drawing, and white highlighting in various media may be employed, much less often other colours such as pink. These fall into three fairly distinct groups. Firs... |
Biography |
The earliest biographies of Claude are in Joachim von Sandrart's Teutsche Academie (1675) and Filippo Baldinucci's Notizie de' professori del disegno da Cimabue in qua (1682–1728). Both Sandrart and Baldinucci knew the painter personally, but at periods some 50 years apart, respectively at the start of his career and s... |
Claude's tombstone gives 1600 as his year of birth, but contemporary sources indicate a later date, circa 1604 or 1605. He was born in the small village of Chamagne, Vosges, then part of the Duchy of Lorraine. He was the third of five sons of Jean Gellée and Anne Padose. |
According to Baldinucci, Claude's parents both died when he was twelve years old, and he then lived at Freiburg with an elder brother (Jean Gellée). Jean was an artist specializing in inlay work and taught Claude the rudiments of drawing. Claude then travelled to Italy, first working for Goffredo Wals in Naples, then j... |
Sandrart's account of Claude's early years, however, is quite different, and modern scholars generally prefer this, or attempt to combine the two. According to Sandrart, Claude did not do well at the village school and was apprenticed to a pastry baker. With a company of fellow cooks and bakers (Lorraine had a high rep... |
While the details of Claude's pre-1620s life remain unclear, most modern scholars agree that he was apprenticed to Wals around 1620–1622, and to Tassi from circa 1622/23 to 1625. Finally, Baldinucci reports that in 1625 Claude undertook a voyage back to Lorraine to train with Claude Deruet, working on the backgrounds o... |
On his travels, Claude briefly stayed in Marseilles, Genoa, and Venice, and had the opportunity to study nature in France, Italy, and Bavaria. Sandrart met Claude in the late 1620s and reported that by then the artist had a habit of sketching outdoors, particularly at dawn and at dusk, making oil studies on the spot. T... |
From this point, Claude's reputation was secured. He went on to fulfill many important commissions, both Italian and international. About 1636 he started cataloguing his works, making pen and wash drawings of nearly all his pictures as they were completed, although not always variant versions, and on the back of most d... |
In 1650, Claude moved to a neighboring house in Via Paolina (today Via del Babuino), where he lived until his death. The artist never married, but adopted an orphan child, Agnese, in 1658; she may well have been Claude's own daughter with a servant of the same name. Sons of Claude's brothers joined the household in 166... |
At his death, he owned only four of his paintings, but most of his drawings. Apart from the Liber Veritatis many of these were in bound volumes, the inventory mentioning 12 bound books and a large "case" or folder of loose sheets. Five or six large bound volumes were left to his heirs including a Tivoli Book, Campagna ... |
Style and subjects |
Influences |
Claude's choice of both style and subject matter grew out of a tradition of landscape painting in Italy, mostly Rome, led by northern artists trained in the style of Northern Mannerism. Matthijs Bril had arrived in Rome from Antwerp around 1575, and was soon joined by his brother Paul. Both specialized in landscapes, i... |
These artists introduced the genre of small cabinet pictures, often on copper, where the figures were dominated by their landscape surroundings, which were very often dense woodland placed not far behind figures in the foreground. Paul Bril had begun to paint larger pictures where the size and balance between the elem... |
Along with other seventeenth-century artists working in Rome, Claude was also influenced by the new interest in the genre of landscape that emerged in the mid-to-late sixteenth century within the Veneto; starting with the Venetian born painter Domenico Campagnola and the Dutch artist resident in both Padua and Venice, ... |
In his method, Lorrain would often use a grid of median and diagonal lines to place elements in the landscape in order to create a dynamic and harmonious composition in which landscape and architecture are balanced against empty space. |
Early works |
Claude's earliest paintings draw from both these groups, being mostly rather smaller than later. Agostino Tassi may have been a pupil of Paul Bril, and his influence is especially evident in Claude's earliest works, at a larger size, while some small works of about 1631 recall Elsheimer. Initially Claude often includes... |
More often than later, the figures were mere genre staffage: shepherds, travellers, and sailors, as appropriate for the scene. In the early 1630s the first religious and mythological subjects appear, with a Flight into Egypt probably of 1631, and a Judgement of Paris, both very common subjects in the "Landscape with.."... |
Figures and other non-landscape elements |
Figures |
Although virtually every painting contains figures, even if only a shepherd, their weakness has always been recognised, not least by Claude himself; according to Baldinucci he joked that he charged for his landscapes, but gave the figures for free. According to Sandrart he had made considerable efforts to improve, but ... |
In his last years his figures tend to become ever more elongated, a process taken to an extreme in his last painting, Ascanius Shooting the Stag of Sylvia, of which even its owner, the Ashmolean Museum, says "The hunters are impossibly elongated – Ascanius, in particular, is absurdly top-heavy". Its pendant View of Car... |
Architecture |
Claude only rarely painted topographical scenes showing the Renaissance and Baroque Roman architecture still being created in his lifetime, but often borrowed from it to work up imaginary buildings. Most of the buildings near the foreground of his paintings are grand imagined temples and palaces in a generally classica... |
One example of a semi-topographic painting with "modern" buildings (there are rather more such drawings) is A View of Rome (1632, NG 1319), which seems to represent the view from the roof of Claude's house, including his parish church and initial burial place of Santa Trinita del Monte, and other buildings such as the ... |
In a generic Seaport in the National Gallery (1644, NG5) a palace facade expanding on the gateway built about 1570 between the Farnese Gardens and the Roman Forum is next door to the Arch of Titus, here apparently part of another palace. Behind that Claude repeats a palace he had used before, that borrows from several ... |
Shipping |
Claude's lack of interest in avoiding anachronism is perhaps seen most clearly in the ships in his harbour scenes. Whether the subject, and the dress of the figures, is supposed to be contemporary, mythogical or from Roman or medieval history, the large ships are usually the same up-to-date merchant vessels. Some larg... |
Critical assessment and legacy |
As seen in his painting The Embarkation of the Queen of Sheba, Claude was innovative in including the Sun itself as a source of light in his paintings. |
In Rome, Bril, Girolamo Muziano and Federico Zuccaro and later Elsheimer, Annibale Carracci and Domenichino made landscape vistas pre-eminent in some of their drawings and paintings (as well as Da Vinci in his private drawings [1] or Baldassarre Peruzzi in his decorative frescoes of vedute); but it might be argued that... |
In this matter of the importance of landscape, Claude 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 ho... |
Claude Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. |
John Constable described Claude 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". |
Claude glass |
The Claude glass, named after Lorrain in England although there is no indication he used or knew of it or anything similar, gave a framed and dark-tinted reflection of a real view, that was supposed to help artists produce works of art similar to his, and tourists to adjust views to a Claudian formula. William Gilpin, ... |
Claude glasses were widely used by tourists and amateur artists, who quickly became the targets of satire. Hugh Sykes Davies observed their facing away from the object they wished to paint, commenting, "It is very typical of their attitude to Nature that such a position should be desirable." |
Selected works |
Landscape with Merchants (The Shipwreck) (1630) - National Gallery of Art, Washington, D.C. |
The Flight into Egypt (1635) oil on canvas. Indianapolis Museum of Art |
Landscape with Goatherd (1636) - National Gallery, London |
The Ford (1636) - Metropolitan Museum, New York |
Port with Villa Medici (1637) - Galleria degli Uffizi, Florence |
Finding of Moses (1638) - Oil on canvas, 209 x 138 cm, Museo del Prado, Madrid |
Pastoral Landscape, (1638) - Minneapolis Institute of Arts |
Paysage avec le port de Santa Marinella, (1638) - Petit Palais |
Seaport (1639) - National Gallery, London |
Seaport at Sunset (Odysseus) (1639) - Oil on canvas, 119 x 150 cm, Musée du Louvre, Paris |
Village Fête, (1639) - Oil on canvas, 103 x 135 cm, Musée du Louvre, Paris |
View of Campagna (c. 1639) - Oil on canvas, 101.6 x 135.9 cm, Royal Collections |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.