Author of. Claude quickly moved his way up the ranks, going on to become Tassi's pupil and later, assistant.Claude apparently tired of life in Rome and moved back to la Lorraine in 1625. The French artist's die-hard professionalism and eager ambition quickly won him a circle of loyal patrons. The practitioners of ideal landscape during the 17th century, the key period of its development, were artists of many nationalities congregated in Rome. Our editors will review what you’ve submitted and determine whether to revise the article. Claude, whose special contribution was the poetic rendering of light, was particularly influential, not only during his lifetime but, especially in England, from the mid-18th to the mid-19th century. Claude was born into a poor peasant family; his father, Jean Gellée, and his mother, Anne (or Idatte) owned a small piece of land in the area.Claude grew up as one of five children in very humble circumstances and never received a formal education (for the rest of his life, even basic tasks like writing and counting posed difficult for Claude). Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. At what stage and for how long he was apprenticed is uncertain, and, either before or during this period, Claude probably spent two years in Naples with Goffredo Wals, another pupil of Tassi. He received little schooling, and, according to his first biographer, Joachim von Sandrart, was brought up to be a pastrycook. The King of Spain Philip IV was one of Claude's most impressive patrons; he commissioned seven to ten paintings for the Buen Retiro palace in Madrid (which was famously decorated by Spanish Baroque painters Velázquez and Zurbarán).By 1633, Claude was so busy that he decided to take on an assistant, the thirteen year-old Gian Domenico Desiderri, and also took on one pupil, Angeluccio, a painter who would go on to be quite successful in his own right.Claude's new found success brought the artist everything he had ever wanted: recognition, social standing, financial rewards, and a constant flood of new artist friends in his studio. Chalk is sometimes used for under-drawing, and white highlighting in various media may be employed, much less often other colours such as pink. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Other artists began imitating or outright copying Claude's paintings and selling them under his name.Understandably upset, Claude decided to start making drawings of each painting that left his studio, with a record of the patron, the city the painting was destined for, and sometimes the date written on the back of the drawing. A lively and informative new podcast for kids that the whole family will enjoy! His first dated work is Landscape with Cattle and Peasants. This valuable work, engraved and published, has always been highly esteemed by students of the art of landscape. Here, two landscapes made for Cardinal Bentivoglio earned him the patronage of Pope Urban VIII. Director of Studies, Paul Mellon Centre for Studies in British Art, London, 1986–92. He did this partly on the basis of two or three series of landscape frescoes (all but one, a small frieze in the Crescenzi Palace at Rome, are now lost), but, according to Baldinucci, he achieved renown chiefly because of his skill in representing “those conditions of nature which produce views of the sun, particularly on seawater and over rivers at dawn and evening.” By about 1637—with commissions from Pope Urban VIII, several cardinals, and Philip IV of Spain—Claude had become the leading landscape painter in Italy. He took no part in public events and lived essentially for his work. 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. The source of inspiration is the countryside around Rome—the Roman Campagna—a countryside haunted with remains and associations of antiquity. He painted a pastoral world of fields and valleys not distant from castles and towns. It also brought something that no artist wants, however: forgeries. Tassi taught Claude the basic vocabulary of his art—landscapes and coast scenes with buildings and little figures—and gave him a lasting interest in perspective and, thus, in landscape painting. In the 1640s, however, Claude rarely received visitors or went to visit others, with the exception of fellow French Baroque master Nicolas Poussin. The painter Joachim von Sandrart is an authority for Claude's life (Academia Artis Pictoriae, 1683); Baldinucci, who obtained information from some of Claude's immediate survivors, relates various incidents to a different effect (Notizie dei professoni del disegno). Claude didn't stay in Rome for long; some time after 1618, the young man moved on to Naples, where he studied under the German landscape painter Goffredo Wals (a native of Cologne). Claude's biographers also note that the artist seemed to grow increasingly solitary during the 1640s and 50s.The painter lived in the foreign artist's quarter of Rome when he first arrived in the city, and initially was quite the socialite, enjoying the company of fellow artists and patrons alike. They boy's parents apparently passed away when Claude was only twelve years old, and some sources suggest the future artist went to live with his brother Jean, a woodcarver, in the town of Freiburg, located on the Rhine.These early years in Claude's life are murky. Orphaned by age of twelve, he went to live at Freiburg with an elder brother, Jean Gellée, a woodcarver. In 1635–36 he began the Liber Veritatis (“Book of Truth”; in the British Museum, London), a remarkable volume containing 195 drawings carefully copied by Claude after his own paintings, with particulars noted on the backs of the drawings indicating the patron for whom, or the place for which, the picture was destined, and, in the second half of the book, the date. Web Gallery of Art - Biography of Claude Lorrain, Art Encyclopedia - Biography of Claude Lorrain, The Catholic Encyclopedia - Biography of Claude Lorrain, Claude Lorrain - Student Encyclopedia (Ages 11 and up). He was one of five children. About 250 paintings by Claude, out of a total of perhaps 300, and more than 1,000 drawings have survived. Though both have been called landscape painters, in Poussin the landscape is a background to the figures; whereas for Lorrain, despite figures in one corner of the canvas, the true subjects are the land, the sea, and the air. However, the painter went on to live for twenty more years, continuing to paint all the while (despite the increasing stiffness in his hands due to arthritis).Claude finally passed away on November 23, 1682, leaving all his worldly possessions to his daughter, nephews, and brothers Denis and Melchior (as well as to a few friends and patrons in Rome). The young artist helped Deruet paint some frescoes for a Carmelite church in Nancy, but seems not to have been very satisfied with this position, because as soon as his contract was up he went straight back to Rome.By this point, Claude was around 21 or 22 years old, and more than eager to get his career off the ground. He returned to Rome in April 1625 and was apprenticed to Augustin Tassi. The subjects of his paintings show that he had an adequate knowledge of the Bible, Ovid’s Metamorphoses, and the Aeneid. Best of all, the Europe-wide demand for landscape paintings had never been higher. In the late 1620s, he began the first of the landscape paintings that would bring him such fame and success in the future. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Claude never married and kept a very small household, employing virtually no workshop assistants (landscape painters rarely did), but around 1658 he did adopt a daughter named Agnès , who cared for the artist in his last years (some suggest that Agnès may have been Claude's own illegitimate daughter). If the ocean horizon is represented, it is from the setting of a busy port. He apparently befriended his fellow Frenchman Nicolas Poussin; together they would travel the Roman Campagna, sketching landscapes. These volumes he named the Liber Veritatis (Book of Truth). He remained on good terms with the painter Nicolas Poussin, another French master of the ideal landscape, yet there was hardly any artistic contact between them. In his early period he mixed with other artists, especially those who were of northern European origin like himself, but in his 40s he apparently became more solitary. Claude Lorrain, usually called simply Claude in English, was born of poor parents at Chamagne, a village in the then independent duchy of Lorraine. The exact date of Claude's birth is disputed, but he was most likely born around 1604 or 1605. Although ill-educated in the formal sense (both his spelling and counting were eccentric, and he wrote haltingly in French and Italian), Claude was not the ignorant peasant of legend. He was one of five children. He was a fastidious worker and an expensive artist. Claude Lorrain, byname of Claude Gellée, (born 1600, Chamagne, France—died Nov. 23, 1682, Rome [Italy]), French artist best known for, and one of the greatest masters of, ideal landscape painting, an art form that seeks to present a view of nature more beautiful and harmonious than nature itself. Then there But, in the winter of 1626–27, Claude returned to Rome and settled there permanently. In 1625, according to his second biographer, Filippo Baldinucci, Claude left Tassi and went back to Nancy, the capital of Lorraine, where he worked for a year as assistant to Claude Deruet on some frescoes (since destroyed) in the Carmelite church. Although most paintings executed before 1635 and a few executed afterward are not included, the Liber Veritatis was compiled throughout in chronological order and thus forms an invaluable record of Claude’s artistic development, as well as revealing his circle of patrons. Landscape as a subject was distinctly unclassical and secular. Undertaken, as he told Baldinucci, as a safeguard against forgery of his paintings, the book gradually became Claude’s most precious possession and a work of art in itself; he may also have used it as a stock of motifs for new compositions. During this period, however, the big fish began to bite; up-and-coming artists began to receive commissions from such illustrious figures as the French ambassador, Giulio Rospigliosi (the future Pope Clement IX), and Pope Urban VIII. Claude Lorrain suffered from arthritis as he aged and was no longer able to live alone. Claude's biography, on the other hand, is the simple, cheerful story of a small-town boy who came to Rome, made it big, and lived a long and happy life. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. By the 1650s, the artist reduced his pool of patrons to only the most elite, and began painting much larger, more intricately planned compositions. In Rome he was trained as an artist by Agostino Tassi, a landscapist and the leading Italian painter of illusionistic architectural frescoes. He afterwards went to Rome to seek a livelihood and then to Naples, where he apprenticed for two years, from 1619 to 1621, under Goffredo (Gottfried) Wals. He had a special feeling for the country, but his mode of life was that of a bourgeois. Claude's big break came in the 1630s. Link To This Page | His parents seem to have died when he was 12 years old, and within the next few years he travelled south to Rome.

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