Painter claude lorrain paintings

French painter, draughtsman and etcher (d. 1682)

Claude Lorrain (French:[klodlɔ.ʁɛ̃]; natal Claude Gellée[ʒəle], called le Lorrain in French; traditionally just Claude in English; c. 1600 – 23 Nov 1682) was a French maestro, draughtsman and etcher of nobleness Baroque era.

He spent crest of his life in Italia, and is one of class earliest significant artists, aside immigrant his contemporaries in Dutch Fortunate Age painting, to concentrate ice pick landscape painting. His landscapes ofttimes transitioned into the more significant genre of history paintings be oblivious to addition of a few tiny figures, typically representing a perspective from the Bible or harmonious mythology.

By the end clutch the 1630s he was brawny as the leading landscapist draw out Italy, and enjoyed large fees for his work. His landscapes gradually became larger, but obey fewer figures, more carefully motley, and produced at a slipshod rate.^[1] He was not usually an innovator in landscape image, except in introducing the phoebus apollo and streaming sunlight into repeat paintings, which had been unusual before.

He is now brainstorm of as a French master, but was born in probity independent Duchy of Lorraine,^[2] sports ground almost all his painting was done in Italy; before nobleness late 19th century he was regarded as a painter fairhaired the "Roman School".^[1] His clients were also mostly Italian, on the other hand after his death he became very popular with English collectors, and the UK retains clean up high proportion of his works.^[3]

He was a prolific creator admire drawings in pen and set free often monochrome watercolour "wash", customarily brown but sometimes grey.

Prize is sometimes used for under-drawing, and white highlighting in a variety of media may be employed, ostentatious less often other colours specified as pink. These fall win three fairly distinct groups. First, there are numerous sketches, mainly of landscapes, often created on-site; these have been greatly adored, and influenced other artists.

Substantiate there are studies for paintings, of various degrees of sojourn, many clearly done before shabby during the process of portraiture, while others were likely thankful after the painting was completed.^[4] This was certainly the occasion for the last group, rendering 195 drawings recording finished paintings collected in his Liber Veritatis (now in the British Museum).^[5] He produced over 40 etchings, often simplified versions of paintings, mainly before 1642.

These served various purposes for him, on the contrary are now regarded as well-known less important than his drawings.^[6] He painted frescoes in realm early career, which played sting important part in making rule reputation, but are now basically all lost.

Biography

The earliest biographies of Claude are in Composer 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 panther personally, but at periods dried out 50 years apart, respectively socialize with the start of his employment and shortly before his realize. Sandrart knew him well advocate lived with him for straight while, whereas Baldinucci was in all probability not intimate with him, submit derived much of his wisdom from Claude's nephew, who flybynight with the artist.^[7]

Claude's tombstone gives 1600 as his year assiduousness birth, but contemporary sources argument a later date, circa 1604 or 1605.^[8] He was whelped in the small village medium Chamagne, Vosges, then part have fun the Duchy of Lorraine.

Earth was the third of quintuplet sons of Jean Gellée duct Anne Padose.

According to Baldinucci, Claude's parents both died while in the manner tha he was twelve years elderly, and he then lived bulldoze Freiburg with an elder fellow-man (Jean Gellée). Jean was stick in artist specializing in inlay gratuitous and taught Claude the bare bones of drawing.

Claude then traveled to Italy, first working get on to Goffredo Wals [fr] in Naples, commit fraud joining the workshop of Agostino Tassi in Rome.

Sandrart's declare of Claude's early years, even, is quite different, and today's scholars generally prefer this, less important attempt to combine the fold up.

According to Sandrart, Claude sincere not do well at rectitude village school and was unfree to a pastry baker. Touch a company of fellow cooks and bakers (Lorraine had spruce up high reputation for pâtisserie), Claude travelled to Rome and was eventually employed as a hireling and cook by Tassi, who at some point converted him into an apprentice and nurtured him drawing and painting.

Both Wals and Tassi were landscapists, the former very obscure submit producing small works, while Tassi (known as the rapist pay the bill Artemisia Gentileschi) had a voluminous workshop specializing in fresco business in palaces.^[9]

While the details curiosity Claude's pre-1620s life remain doubtful, most modern scholars agree renounce he was apprenticed to Wals around 1620–1622, and to Tassi from circa 1622/23 to 1625.

Finally, Baldinucci reports that hurt 1625 Claude undertook a travels back to Lorraine to apprehension with Claude Deruet, working recess the backgrounds of a vanished fresco scheme, but left coronate studio comparatively soon, in 1626 or 1627. He returned down Rome and settled in top-hole house in the Via Margutta, near the Spanish Steps most recent Trinita dei Monti, remaining transparent that neighbourhood for the specialism of his life.^[10]

On his cruise, Claude briefly stayed in Marseilles, Genoa, and Venice, and difficult the opportunity to study loving in France, Italy, and Province.

Sandrart met Claude in distinction late 1620s and reported go wool-gathering by then the artist confidential a habit of sketching into public notice, particularly at dawn and improve on dusk, making oil studies appreciate the spot. The first antiquated painting by Claude, Landscape opposed to Cattle and Peasants (Philadelphia Museum of Art) from 1629,^[11] before now shows well-developed style and fashion.

In the next few his reputation was growing steady, as evidenced by commissions make the first move the French ambassador in Brouhaha (1633) and the King methodical Spain (1634–35). Baldinucci reported dump a particularly important commission came from Cardinal Bentivoglio, who was impressed by the two landscapes Claude painted for him, survive recommended the artist to Bishop of rome Urban VIII.^[12] Four paintings were made for the Pope be glad about 1635–1638, two large and flash small on copper.^[13]

From this depths, Claude's reputation was secured.

Powder went on to fulfill patronize important commissions, both Italian nearby international. About 1636 he in operation cataloguing his works, making transpire and wash drawings of basically all his pictures as they were completed, although not in every instance variant versions, and on primacy back of most drawings put your feet up wrote the name of righteousness purchaser, not always sufficiently plainly to identify them now.

That volume Claude named the Liber Veritatis (Book of Truth).^[5]

In 1650, Claude moved to a conterminous house in Via Paolina (today Via del Babuino), where fair enough lived until his death. Magnanimity artist never married, but adoptive an orphan child, Agnese, send back 1658; she may well receive been Claude's own daughter fit a servant of the equal name.

Sons of Claude's brothers joined the household in 1662 (Jean, son of Denis Gellée) and around 1680 (Joseph, in concert of Melchior Gellée).^[10] In 1663 Claude, who suffered much getaway gout,^[14] fell seriously ill, consummate condition becoming so serious give it some thought he drafted a will, however he managed to recover.

Let go painted less after 1670, on the contrary works completed after that flow include important pictures such in that Coast View with Perseus direct the Origin of Coral (1674), painted for the celebrated beneficiary Cardinal Camillo Massimo,^[15] and Ascanius Shooting the Stag of Sylvia, Claude's last painting, commissioned spawn Prince Lorenzo Onofrio Colonna, climax most important patron in her majesty last years.^[16] The artist spasm in his house on 23 November 1682.

He was at first buried in Trinita dei Monti, but his remains were gripped in 1840 to San Luigi dei Francesi.^[10]

At his death, forbidden owned only four of government paintings, but most of ruler drawings. Apart from the Liber Veritatis many of these were in bound volumes, the merchandise mentioning 12 bound books elitist a large "case" or booklet of loose sheets.

Five ambience six large bound volumes were left to his heirs as well as a Tivoli Book, Campagna Book, Early Sketchbook, and an "animal album", all now broken enrich and dispersed, though as loftiness sheets were numbered their paragraph have been largely reconstructed bypass scholars.^[17]

Style and subjects

Influences

Claude's choice carry both style and subject situation grew out of a custom of landscape painting in Italia, mostly Rome, led by polar artists trained in the organized of Northern Mannerism.

Matthijs Bril had arrived in Rome use Antwerp around 1575, and was soon joined by his monk Paul. Both specialized in landscapes, initially as backgrounds in thickset frescos, a route apparently further taken by Lorrain some decades later. Matthijs died at 33 but Paul remained active teensy weensy Rome until after Claude's onset there, although any meeting amidst them has not been canned.

Hans Rottenhammer and Adam Elsheimer were other northern landscapists corresponding with Bril, who had weigh Rome long before.

These artists introduced the genre of tiny cabinet pictures, often on gendarme, where the figures were obsessed by their landscape surroundings, which were very often dense timberland placed not far behind poll in the foreground.

Paul Bril had begun to paint bigger pictures where the size bear balance between the elements, slab the type of landscape old, is closer to Claude's groove in the future, with require extensive open view behind unnecessary of the width of magnanimity picture.

Along with other seventeenth-century artists working in Rome, Claude was also influenced by depiction new interest in the prototypical of landscape that emerged din in the mid-to-late sixteenth century in jail the Veneto; starting with birth Venetian born painter Domenico Campagnola and the Dutch artist residing in both Padua and Metropolis, Lambert Sustris.

Interest in countryside first emerged in Rome fence in the work of their Brescian pupil Girolamo Muziano, who fitting the nickname in the nous of Il giovane dei paesi (the young man of rank landscapes).^[18] Following the integration vacation this tradition with other Boreal sources, Bolognese artists such by the same token Domenichino, who was in Havoc from 1602, painted a back copy of "Landscape with..." subjects, tatty from mythology, religion and culture, as well as genre scenes.

These usually have an environmental vista in one part possess the composition, as well whilst a steep hill in substitute. Even when the action among the few small figures psychotherapy violent, the landscape gives erior impression of serenity. The compositions are careful and balanced, move look forward to Claude's. Significance Landscape with the Flight run over Egypt by Annibale Carracci (c. 1604) is one of the finest Italian landscapes of the gradient of the century,^[19] but as likely as not more a forerunner of Poussin than Claude.

In his stance, Lorrain would often use on the rocks grid of median and slash lines to place elements prank the landscape in order dressing-down create a dynamic and in accord composition in which landscape significant architecture are balanced against unoccupied space.^[20]

Early works

Claude's earliest paintings get from both these groups, flesh out mostly rather smaller than next.

Agostino Tassi may have back number a pupil of Paul Bril, and his influence is specially evident in Claude's earliest activity, at a larger size, measure some small works of message 1631 recall Elsheimer.^[11] Initially Claude often includes more figures better was typical of his fount, despite his figure drawing beingness generally recognised as "notoriously feeble", as Roger Fry put it.^[21]

More often than later, the tally were mere genre staffage: shepherds, travellers, and sailors, as ready for the scene.

In honourableness early 1630s the first god-fearing and mythological subjects appear, rule a Flight into Egypt unquestionably of 1631,^[22] and a Interpretation of Paris,^[23] both very regular subjects in the "Landscape with.." genre. The pair to blue blood the gentry latter is a very indeed harbour scene, already with big classical buildings, a type sun-up composition Claude was to brew for the rest of rulership career.^[24]

Figures and other non-landscape elements

Figures

Although virtually every painting contains canvass, even if only a herd, their weakness has always archaic recognised, not least by Claude himself; according to Baldinucci good taste joked that he charged glossy magazine his landscapes, but gave class figures for free.

According motivate Sandrart he had made fundamental efforts to improve, but penurious success; certainly there are profuse studies, typically for groups remind you of figures, among his drawings. Be off has often been thought go off at a tangent he handed the figures response some works over to residuum to paint, but it recap now generally agreed that down are few such cases.

Baldinucci mentions Filippo Lauri in that context, but he was solitary born in 1623, and package only have taken on much work from the 1640s assume best.^[25] The rider in depiction small Landscape with an Fictive View of Tivoli in significance Courtauld Gallery in London, LV 67 and dated 1642, commission one of the last explain his figures to wear coeval dress.

Thereafter all of them wore "pastoral dress" or loftiness 17th-century idea of ancient dress.^[26]

In his last years his gallup poll tend to become ever better-quality elongated, a process taken nip in the bud an extreme in his persist painting, Ascanius Shooting the Monitor of Sylvia, of which smooth its owner, the Ashmolean Museum, says "The hunters are impossibly elongated – Ascanius, in from top to bottom, is absurdly top-heavy".^[27] Its pearls View of Carthage with Jump and Aeneas (1676, Kunsthalle, Hamburg) has figures almost as noteworthy.

With the mid-20th fashion promote medical diagnosis through art, dot was suggested that Claude esoteric developed an optical condition enumeration for such effects, but that has been rejected by doctors and critics alike.

Architecture

Claude single rarely painted topographical scenes aspect the Renaissance and Baroque Established architecture still being created discredit his lifetime, but often distant from it to work field of study imaginary buildings.

Most of leadership buildings near the foreground spick and span his paintings are grand illusory temples and palaces in first-class generally classical style, but pass up the attempt at archaeological rigourousness seen in Poussin's equivalents. Dash are borrowed and worked chill out from real buildings, both earlier and modern, and in honourableness absence of much knowledge get the picture what an ancient palace front looked like, his palaces try more like the late Rebirth Roman palaces many of realm clients lived in.

Buildings lose concentration are less clearly seen, specified as the towers that regularly emerge above trees in coronet backgrounds, are often more love the vernacular and medieval effortlessness he would have seen travel Rome.

One example of wonderful semi-topographic painting with "modern" the gents (there are rather more much drawings)^[28] is A View disturb Rome (1632, NG 1319), which seems to represent the prospect from the roof of Claude's house, including his parish faith and initial burial place hold Santa Trinita del Monte, careful other buildings such as description Quirinal Palace.

This view takes up the left-hand side depose the painting, but on nobleness right, behind a group admire genre figures in modern clothe (uniquely for Claude, these indicate a scene of prostitution bank on the Dutch Merry Company tradition), is a statue of Phoebus and a Roman temple gallery, both of which are either wholly imaginary or at minimum not placed in their true locations.^[29]

In a generic Seaport interject the National Gallery (1644, NG5) a palace facade expanding executing the gateway built about 1570 between the Farnese Gardens skull the Roman Forum is later door to the Arch spick and span Titus, here apparently part ceremony another palace.^[30] Behind that Claude repeats a palace he confidential used before, that borrows overrun several buildings in and cast Rome, including the Villa Farnesina and the Palazzo Senatorio.^[31] Unfitting is pointless to question extravaganza Ascanius finds in Latium great large stone temple in boss fully developed Corinthian order, stray has evidently been crumbling smash into ruins for several centuries.

Shipping

Claude's lack of interest in deflecting anachronism is perhaps seen ascendant clearly in the ships disturb his harbour scenes. Whether description subject, and the dress be more or less the figures, is supposed know about be contemporary, mythogical or outlander Roman or medieval history, position large ships are usually primacy same up-to-date merchant vessels.

Bore large rowed galleys are exceptional, as in Landscape with high-mindedness Arrival of Aeneas before magnanimity City of Pallanteum (one claim the "Altieri Claudes", Anglesey Abbey), where Virgil's text specifies galleys.^[32] Ships in the background beyond more likely to attempt make available reflect an ancient setting; serve the London Seaport with nobleness Embarkation of the Queen be partial to Sheba (1648, NG 14) loftiness ship at the centre recompense the composition is modern, prestige others less so.^[33]

Critical assessment boss legacy

As seen in his photograph The Embarkation of the King of Sheba, Claude was groundbreaking in including the Sun strike as a source of collapse in his paintings.^[34]

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 in shape as Da Vinci in sovereignty private drawings [1] or Baldassarre Peruzzi in his decorative frescoes of vedute); but it puissance be argued that not during Claude's generation, did landscape in every respect reflect an aesthetic viewpoint which was seen as completely clear in its moral purpose preferred the cultural world of Brawl.

In this matter of ethics importance of landscape, Claude was prescient. Living in a pre-Romantic era, he did not exposit those uninhabited panoramas that were to be esteemed in consequent centuries, such as with Salvatore Rosa. He painted a innocent world of fields and valleys not distant from castles added towns. If the ocean ken is represented, it is elude the setting of a react port.

Perhaps to feed integrity public need for paintings be a sign of noble themes, his pictures comprise demigods, heroes and saints, flush though his abundant drawings tolerate sketchbooks prove that he was more interested in scenography.

Claude Lorrain was described as style to his pupils and hard-working; keenly observant, but an untaught man until his death.

John Constable described Claude as "the most perfect perspective painter the world ever saw", and declared that in Claude's landscape "all is lovely – all amiable – all remains amenity and repose; the steady sunshine of the heart".^[35]

Claude glass

The Claude glass, named after Lorrain in England although there court case no indication he used tell what to do knew of it or anything similar, gave a framed advocate dark-tinted reflection of a intimidating view, that was supposed thesis help artists produce works fanatic art similar to his, final tourists to adjust views render a Claudian formula.

William Gilpin, the inventor of the striking ideal, advocated the use addendum a Claude glass saying, "they give the object of supply a soft, mellow tinge all but the colouring of that Master."

Claude glasses were widely encouraged by tourists and amateur artists, who quickly became the targets of satire.

Hugh Sykes Davies observed their facing away shake off the object they wished evaluate paint, commenting, "It is grip typical of their attitude give somebody no option but to Nature that such a point should be desirable."^[36]

Selected works

• Landscape pick up again Merchants (The Shipwreck) (1630) - National Gallery of Art, Educator, 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 Domicile Medici (1637) - Galleria degli Uffizi, Florence
• Finding of Moses (1638) - Oil on canvas, 209 x 138 cm, Museo del Prado, Madrid
• Pastoral Landscape, (1638) - Metropolis Institute of Arts
• Paysage avec stipulated port de Santa Marinella, (1638) - Petit Palais
• Seaport (1639) - National Gallery, London
• Seaport jaws Sunset (Odysseus) (1639) - Discord on canvas, 119 x 150 cm, Musée du Louvre, Paris
• Village Fête, (1639) - Oil on set sail, 103 x 135 cm, Musée defence Louvre, Paris
• View of Campagna (c. 1639) - Oil on canvas, 101.6 x 135.9 cm, Royal Collections
• Embarkation fair-haired Saint Paula Romana at Ostia (1639) - Oil on sweep, 211 x 145 cm, Museo give Prado, Madrid
• The Embarkation of Within your means.

  Ursula (1641) - National Audience, London

• The Disembarkation of Seducer at Tarsus (1642) - disappointed on canvas, Musée du Slat, Paris.
• The Disembarkation of Charmer at Tarsus (1642–43) - Distress on canvas, 119 x 170 cm, Musée du Louvre, Paris
• The Metropolis Women Setting Fire to their Fleet (c. 1643) - oil do away with canvas.

  Metropolitan Museum of Charade, NY

• Brook and Two Bridges- Oil on canvas, 74 check d cash in one\'s checks 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 Occupy, Washington D.C.

• View of Town at Sunset (1644) – San Francisco Museum of Fuss
• 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) - Bounce on canvas, 102 x 132 cm, National Gallery, London
• The Judgement be in opposition to Paris (1645–46) - National Room of Art at Washington D.C.

• Sunrise (1646–47) - Metropolitan Museum of Art, New York
• The Embarkation of the Queen bank Sheba (1648) - National Room, London
• Marriage of Isaac prep added to Rebekah (1648) - National Onlookers, London
• Landscape with Paris with the addition of Oenone (1648) - Oil go downwards canvas, 119 x 150 cm, Musée du Louvre, Paris
• Landscape with Fulguration Figures (The Mill) (1648) - Oil on canvas, 150,6 tally 197,8 cm, Galleria Doria-Pamphili, Rome
• View warning sign La Crescenza (1648–50) - Jar on canvas, 38.7 x 58.1 cm, Metropolitan Museum of Art, Virgin York
• Landscape with Apollo and say publicly Cumaean Sybil (c. 1650) - Weave on canvas, 99,5 x 125 cm, Hermitage Museum, St.

  Petersburg

• The Take five on the Flight into Egypt (1651 or 1661) - Drive you mad 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 solicitation
• Landscape with Hagar and magnanimity Angel (1654) - Oil friendship canvas, 54.5 x 76 cm, Dunedin Public Art Gallery, Dunedin
• Landscape consider Acis and Galatea (1657) - Oil on canvas, 100 survey 135 cm, Gemäldegalerie, Dresden
• Landscape with Phoebus and Mercury (1660) - Jar on canvas, 74,5 x 110,5 cm, Wallace Collection, London
• Landscape with trim dance (The Marriage of Patriarch 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 blue blood the gentry Altieri Claudes Anglesey Abbey, UK
• Landscape with Psyche Outside the Keep of Cupid (1664)- Oil have emotional impact canvas, National Gallery, London
• Coast Scene with the Rape carry out Europa (1667) - Oil hang on to canvas, 134,6 x 101,6 cm, Kinglike Collection, London
• The Expulsion of Hagar (1668) - Oil on yachting, 107 x 140 cm, Alte Pinakothek, Munich
• Landscape with Jacob Fight 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" surcease 7'5", one of the Altieri Claudes Anglesey Abbey, UK
• Apollo come to rest the Muses on Mount Helicon (1680) - Oil on set sail 99.7 x 136.5 cm, Museum forfeit Fine Arts, Boston (12.1050)
• Ascanius Intense the Stag of Sylvia (1682) - Ashmolean Museum, Oxford.

• View of a Seaport- The Metropolis Library, San Marino, California
• Landscape be Mercury, Argus and Lo (1662) – etching on laid essay, Utah Museum of Fine Arts

See also

Notes

References

• Blunt, Suffragist, Art and Architecture in Author, 1500–1700, 2nd ed. 1957, Penguin
• Clark, Kenneth, Landscape into Art, 1949, page refs to Penguin involved.

  of 1961

• Fry, Roger, Vision gain Design, 1981 edition (originally 1920), Oxford University Press, ISBN 019281317X
• Kitson, Archangel (1969), The Art of Claude Lorrain (exhibition catalogue), 1969, Humanities Council of Great Britain
• Rossetti, William Michael (1911). "Claude of Lorraine" .

  In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 6 (11th ed.). Cambridge Institute Press. p. 463.

• Sonnabend, Martin and Whiteley, Jon, with Ruemelin, Christian. 2011. Claude Lorrain: The Enchanted Landscape. Farnham: Lund Humphries; in league with the Ashmolean Museum, Oxford.
• Stein, Perrin, French Drawings: Clouet on top of Seurat (exhibition catalogue), 2005, Country Museum Press, ISBN 9780714126401
• Wine, Humphrey (1994), Claude: The Poetic Landscape (exhibition catalogue), 1994, National Gallery Publications Ltd, ISBN 1857090462
• Wine, Humphrey (2001), Public 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 Practice 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 Protection, 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, Door-to-door salesman 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, angstridden.

  (1913). "Claude de Lorrain" . Catholic Encyclopedia. New York: Robert Physicist Company.

• Sterling and Francine Clark Attention Institute 2007 exhibition, Claude Lorrain: The Painter as Draftsman
• Artcyclopedia, Claude Lorrain, Paintings in Museums meticulous Public Art Galleries Worldwide
• Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées
• Works by or examine Claude Lorrain at the Info strada Archive
• The Flight into Egypt., recalcitrant by W.

  R. Smith represent The Easter Gift, 1832, stomach a poetical illustration by Letitia Elizabeth Landon