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Embarkation of Saint Paula Romana at Ostia (1639) - Oil on canvas, 211 x 145 cm, Museo del Prado, Madrid |
The Embarkation of St. Ursula (1641) - National Gallery, London |
The Disembarkation of Cleopatra at Tarsus (1642) - oil on canvas, Musée du Louvre, Paris. |
The Disembarkation of Cleopatra at Tarsus (1642–43) - Oil on canvas, 119 x 170 cm, Musée du Louvre, Paris |
The Trojan Women Setting Fire to their Fleet (c. 1643) - oil on canvas. Metropolitan Museum of Art, NY |
Brook and Two Bridges - Oil on canvas, 74 x 58 cm, |
Voyage of Jacob |
The Angel's Visit |
View of the Church Santa Trinità Dei Monti - drawing, Hermitage Museum, St. Petersburg |
Seaport with Castle - Howard University Gallery of Art, Washington D.C. |
View of Tivoli at Sunset (1644) – San Francisco Museum of Art |
Mercury Stealing Apollo's Oxen (1645) - Oil on canvas, 55 x 45 cm, Galleria Doria-Pamphilj, Rome |
Landscape with Cephalus and Procris reunited by Diana (1645) - Oil on canvas, 102 x 132 cm, National Gallery, London |
The Judgement of Paris (1645–46) - National Gallery of Art at Washington D.C. |
Sunrise (1646–47) - Metropolitan Museum of Art, New York |
The Embarkation of the Queen of Sheba (1648) - National Gallery, London |
Marriage of Isaac and Rebekah (1648) - National Gallery, London |
Landscape with Paris and Oenone (1648) - Oil on canvas, 119 x 150 cm, Musée du Louvre, Paris |
Landscape with Dancing Figures (The Mill) (1648) - Oil on canvas, 150,6 x 197,8 cm, Galleria Doria-Pamphili, Rome |
View of La Crescenza (1648–50) - Oil on canvas, 38.7 x 58.1 cm, Metropolitan Museum of Art, New York |
Landscape with Apollo and the Cumaean Sybil (c. 1650) - Oil on canvas, 99,5 x 125 cm, Hermitage Museum, St. Petersburg |
The Rest on the Flight into Egypt (1651 or 1661) - Oil on canvas, 113 x 157 cm, Hermitage Museum, St. Petersburg |
Landscape with Mercury and Battus (1654) - Oil on canvas, 74 x 98 cm, Swiss private collection |
Landscape with Hagar and the Angel (1654) - Oil on canvas, 54.5 x 76 cm, Dunedin Public Art Gallery, Dunedin |
Landscape with Acis and Galatea (1657) - Oil on canvas, 100 x 135 cm, Gemäldegalerie, Dresden |
Landscape with Apollo and Mercury (1660) - Oil on canvas, 74,5 x 110,5 cm, Wallace Collection, London |
Landscape with a dance (The Marriage of Isaac and Rebeccah) (1663) – Drawing[2] |
The Father of Psyche Sacrificing at the Temple of Apollo (1663)- Oil on canvas, 5'9" x 7'5", one of the Altieri Claudes Anglesey Abbey, UK |
Landscape with Psyche Outside the Palace of Cupid (1664)- Oil on canvas, National Gallery, London |
Coast Scene with the Rape of Europa (1667) - Oil on canvas, 134,6 x 101,6 cm, Royal Collection, London |
The Expulsion of Hagar (1668) - Oil on canvas, 107 x 140 cm, Alte Pinakothek, Munich |
Landscape with Jacob Wrestling with the Angel or Night (1672) Oil on canvas, Hermitage Museum, St. Petersburg, Russia |
Seaport (1674) - Oil on canvas, 72 x 96 cm, Alte Pinakothek, Munich |
The Landing of Aeneas (1675) - Oil on canvas 5'9" x 7'5", one of the Altieri Claudes Anglesey Abbey, UK |
Apollo and the Muses on Mount Helicon (1680) - Oil on canvas 99.7 x 136.5 cm, Museum of Fine Arts, Boston (12.1050) |
Ascanius Shooting the Stag of Sylvia (1682) - Ashmolean Museum, Oxford. |
View of a Seaport - The Huntington Library, San Marino, California |
Landscape with Mercury, Argus and Lo (1662) – etching on laid paper, Utah Museum of Fine Arts |
See also |
Claude glass – Black mirror |
Notes |
References |
Blunt, Anthony, Art and Architecture in France, 1500–1700, 2nd ed. 1957, Penguin |
Clark, Kenneth, Landscape into Art, 1949, page refs to Penguin ed. of 1961 |
Fry, Roger, Vision and Design, 1981 edition (originally 1920), Oxford University Press, ISBN 019281317X |
Kitson, Michael (1969), The Art of Claude Lorrain (exhibition catalogue), 1969, Arts Council of Great Britain |
Rossetti, William Michael (1911). "Claude of Lorraine" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 6 (11th ed.). Cambridge University Press. p. 463. |
Sonnabend, Martin and Whiteley, Jon, with Ruemelin, Christian. 2011. Claude Lorrain: The Enchanted Landscape. Farnham: Lund Humphries; in association with the Ashmolean Museum, Oxford. |
Stein, Perrin, French Drawings: Clouet to Seurat (exhibition catalogue), 2005, British Museum Press, ISBN 9780714126401 |
Wine, Humphrey (1994), Claude: The Poetic Landscape (exhibition catalogue), 1994, National Gallery Publications Ltd, ISBN 1857090462 |
Wine, Humphrey (2001), National Gallery Catalogues (new series): The Seventeenth Century French Paintings, 2001, National Gallery Publications Ltd, ISBN 185709283X |
Further reading |
Chiarini, Marco. 1968. Claude Lorrain – Selected Drawings. Pennsylvania State University Press. |
Kitson, Michael. 1978. Claude Lorrain, "Liber Veritatis". British Museum Publications, London. |
Lagerlöf, Margaretha Rossholm. 1990. Ideal Landscape: Annibale Carracci, Nicolas Poussin and Claude Lorrain. New Haven, Yale University Press |
Mannocci, Lino. 1988, The Etchings of Claude Lorrain. Yale University Press |
Rand, Richard, Claude Lorrain: The Painter as Draftsman (exhibition from the British Museum), Yale University Press, 2007 |
Röthlisberger, Marcel, Claude Lorrain: The Paintings, Hawker Art Books, 1979 |
Russell, H. Diane. 1982. Claude Lorrain, 1600–1682 (NGA exhibition). New York, George Braziller. |
External links |
Media related to Claude Lorrain at Wikimedia Commons |
68 artworks by or after Claude Lorrain at the Art UK site |
Claude's Biography, Context and Artworks |
National Gallery |
Web Gallery of Art |
Herbermann, Charles, ed. (1913). "Claude de Lorrain" . Catholic Encyclopedia. New York: Robert Appleton Company. |
Sterling and Francine Clark Art Institute 2007 exhibition, Claude Lorrain: The Painter as Draftsman |
Artcyclopedia, Claude Lorrain, Paintings in Museums and Public Art Galleries Worldwide |
Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées |
Works by or about Claude Lorrain at the Internet Archive |
The Flight into Egypt., engraved by W. R. Smith for The Easter Gift, 1832, with a poetical illustration by Letitia Elizabeth Landon |
Oscar-Claude Monet (UK: , US: ; French: [klod mɔnɛ]; 14 November 1840 – 5 December 1926) was a French painter and founder of impressionism painting who is seen as a key precursor to modernism, especially in his attempts to paint nature as he perceived it. During his long career, he was the most consistent and prolific practitioner of impressionism's philosophy of expressing one's perceptions of nature, especially as applied to plein air (outdoor) landscape painting. The term "impressionism" is derived from the title of his painting Impression, soleil levant, which was first exhibited in the so-called "exhibition of rejects" of 1874–an exhibition initiated by Monet and like-minded artists as an alternative to the Salon. |
Monet was raised in Le Havre, Normandy, and became interested in the outdoors and drawing from an early age. Although his mother, Louise-Justine Aubrée Monet, supported his ambitions to be a painter, his father, Claude-Adolphe, disapproved and wanted him to pursue a career in business. He was very close to his mother, but she died in January 1857 when he was sixteen years old, and he was sent to live with his childless, widowed but wealthy aunt, Marie-Jeanne Lecadre. He went on to study at the Académie Suisse, and under the academic history painter Charles Gleyre, where he was a classmate of Auguste Renoir. His early works include landscapes, seascapes, and portraits, but attracted little attention. A key early influence was Eugène Boudin, who introduced him to the concept of plein air painting. From 1883, Monet lived in Giverny, also in northern France, where he purchased a house and property and began a vast landscaping project, including a water-lily pond. |
Monet's ambition to document the French countryside led to a method of painting the same scene many times so as to capture the changing of light and the passing of the seasons. Among the best-known examples are his series of haystacks (1890–1891), paintings of Rouen Cathedral (1892–1894), and the paintings of water lilies in his garden in Giverny that occupied him continuously for the last 20 years of his life. |
Frequently exhibited and successful during his lifetime, Monet's fame and popularity soared in the second half of the 20th century when he became one of the world's most famous painters and a source of inspiration for a burgeoning group of artists. |
Biography |
Birth and childhood |
Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the second son of Claude Adolphe Monet (1800–1871) and Louise Justine Aubrée Monet (1805–1857), both of them second-generation Parisians. On 20 May 1841, he was baptised in the local Paris church, Notre-Dame-de-Lorette, as Oscar-Claude, but his parents called him simply Oscar. Despite being baptised Catholic, Monet later became an atheist. |
In 1845, his family moved to Le Havre in Normandy. His father, a wholesale merchant, wanted him to go into the family's ship-chandling and grocery business, but Monet wanted to become an artist. His mother was a singer, and supported Monet's desire for a career in art. |
On 1 April 1851, he entered Le Havre secondary school of the arts. He was an apathetic student who, after showing skill in art from young age, began drawing caricatures and portraits of acquaintances at age 15 for money. He began his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. In around 1858, he met fellow artist Eugène Boudin, who would encourage Monet to develop his techniques, teach him the "en plein air" (outdoor) techniques for painting and take Monet on painting excursions. Monet thought of Boudin as his master, whom "he owed everything to" for his later success. |
In 1857, his mother died. He lived with his father and aunt, Marie-Jeanne Lecadre; Lecadre would be a source of support for Monet in his early art career. |
Paris and Algeria |
From 1858 to 1860, Monet continued his studies in Paris, where he enrolled in Académie Suisse and met Camille Pissarro in 1859. He was called for military service and served under the Chasseurs d'Afrique (African Hunters), in Algeria, from 1861 to 1862. His time in Algeria had a powerful effect on Monet, who later said that the light and vivid colours of North Africa "contained the gem of my future researches". Illness forced his return to Le Havre, where he bought out his remaining service and met Johan Barthold Jongkind, who together with Boudin was an important mentor to Monet. |
Upon his return to Paris, with the permission of his father, he divided his time between his childhood home and the countryside and enrolled in Charles Gleyre's studio, where he met Pierre-Auguste Renoir and Frédéric Bazille. Bazille eventually became his closest friend. In search of motifs, they traveled to Honfleur where Monet painted several "studies" of the harbor and the mouth of the Seine. Monet often painted alongside Renoir and Alfred Sisley, both of whom shared his desire to articulate new standards of beauty in conventional subjects. |
During this time he painted Women in Garden, his first successful large-scale painting, and Le déjeuner sur l'herbe, the "most important painting of Monet's early period". Having debuted at the Salon in 1865 with La Pointe de la Hève at Low Tide and Mouth of the Seine at Honfleur to large praise, he hoped Le déjeuner sur l'herbe would help him break through into the Salon of 1866. He could not finish it in a timely manner and instead submitted The Woman in the Green Dress and Pavé de Chailly to acceptance. Thereafter, he submitted works to the Salon annually until 1870, but they were accepted by the juries only twice, in 1866 and 1868. He sent no more works to the Salon until his single, final attempt in 1880. His work was considered radical, "discouraged at all official levels". |
In 1867 his then-mistress, Camille Doncieux—whom he had met two years earlier as a model for his paintings—gave birth to their first child, Jean. Monet had a strong relationship with Jean, claiming that Camille was his lawful wife so Jean would be considered legitimate. Monet's father stopped financially supporting him as a result of the relationship. Earlier in the year Monet had been forced to move to his aunt's house in Sainte-Adresse. There he immersed himself in his work, although a temporary problem with his eyesight, probably related to stress, prevented him from working in sunlight. Monet loved his family dearly, painting many portraits of them such as child with a cup, a portrait of Jean Monet. This painting in particular shows the first signs of Monets' later famous impressionistic work. |
With help from the art collector Louis-Joachim Gaudibert, he reunited with Camille and moved to Étretat the following year. Around this time, he was trying to establish himself as a figure painter who depicted the "explicitly contemporary, bourgeois", an intention that continued into the 1870s. He did evolve his painting technique and integrate stylistic experimentation in his plein-air style—as evidenced by The Beach at Sainte-Adresse and On the Bank of the Seine respectively, the former being his "first sustained campaign of painting that involved tourism". |
Several of his paintings had been purchased by Gaudibert, who commissioned a painting of his wife, alongside other projects; the Gaudiberts were for two years "the most supportive of Monet's hometown patrons". Monet would later be financially supported by the artist and art collector Gustave Caillebotte, Bazille and perhaps Gustave Courbet, although creditors still pursued him. |
Exile and Argenteuil |
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