Claude Lorrain
(eBook)

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Published
Parkstone International, 2022.
Format
eBook
Language
English
ISBN
9781781605691

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Citations

APA Citation, 7th Edition (style guide)

Sergei Daniel., & Sergei Daniel|AUTHOR. (2022). Claude Lorrain . Parkstone International.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Sergei Daniel and Sergei Daniel|AUTHOR. 2022. Claude Lorrain. Parkstone International.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Sergei Daniel and Sergei Daniel|AUTHOR. Claude Lorrain Parkstone International, 2022.

MLA Citation, 9th Edition (style guide)

Sergei Daniel, and Sergei Daniel|AUTHOR. Claude Lorrain Parkstone International, 2022.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID16b06823-a462-8f47-1766-d03242b434ee-eng
Full titleclaude lorrain
Authordaniel sergei
Grouping Categorybook
Last Update2024-02-29 18:01:46PM
Last Indexed2024-03-29 02:21:13AM

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Image Sourcehoopla
First LoadedJun 21, 2023
Last UsedJun 21, 2023

Hoopla Extract Information

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    [synopsis] => Claude Gellée, called Claude Lorrain was neither a great man nor a lofty spirit like Poussin. His genius cannot, however, be denied and he was, like Poussin, a profoundly original inventor within the limitations of a classical ideal. He too spent most of his life in Rome though the art he created was not specifically Italian, but French. For more than two centuries afterwards everyone in France who felt called upon to depict the beauties of nature would think of Lorrain and study his works, whether it be Joseph Vernet in the eighteenth century or Corot in the nineteenth. Outside France it was the same; Lorrain was nowhere more admired than in England. There is an element of mystery in the vocation of this humble and almost illiterate peasant whose knowledge of French and Italian was equally poor, and who used to inscribe on his drawings notes in a strange broken Franco-Italian. This mystery is in some way symbolic of that with which he imbued his pictures, le mystère dans la lumière. This admirable landscapist drew from within himself the greatest number of extraordinary pictures, in which all is beauty, poetry and truth. He sometimes made from nature drawings so beautiful that several have been attributed to Poussin, but in his paintings his imagination dominates, growing in magnitude as he realised his genius. He understood by listening to Poussin and watching him paint that a sort of intellectual background would be an invaluable addition to his own imagination, visions, dreams and reveries.
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