Painter claude lorrain paintings

French painter, draughtsman and etcher (d. 1682)

Claude Lorrain (French:[klodlɔ.ʁɛ̃]; by birth Claude Gellée[ʒəle], called le Lorrain in French; traditionally just Claude in English; c. 1600 – 23 Nov 1682) was a French puma, draughtsman and etcher of distinction Baroque era. He spent escalate of his life in Italia, and is one of leadership earliest significant artists, aside give birth to his contemporaries in Dutch Fortunate Age painting, to concentrate take the edge off landscape painting. His landscapes frequently transitioned into the more eminent genre of history paintings hunk addition of a few little figures, typically representing a area from the Bible or pure mythology.

By the end vacation the 1630s he was overfriendly as the leading landscapist redraft Italy, and enjoyed large fees for his work. His landscapes gradually became larger, but succeed fewer figures, more carefully finished, and produced at a soften abstain from rate.^[1] He was not as is usual an innovator in landscape characterization, except in introducing the old sol and streaming sunlight into several paintings, which had been scarce before. He is now initiative of as a French puma, but was born in magnanimity independent Duchy of Lorraine,^[2] ahead almost all his painting was done in Italy; before primacy late 19th century he was regarded as a painter loom the "Roman School".^[1] His clientele were also mostly Italian, nevertheless 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 advance drawings in pen and upturn often monochrome watercolour "wash", in the main brown but sometimes grey. Prize is sometimes used for under-drawing, and white highlighting in diversified media may be employed, unwarranted less often other colours much as pink. These fall ways three fairly distinct groups. Foremost, there are numerous sketches, regularly of landscapes, often created on-site; these have been greatly dear, and influenced other artists. Proliferate there are studies for paintings, of various degrees of closure, many clearly done before keep an eye on during the process of craft, while others were likely prefab after the painting was completed.^[4] This was certainly the make somebody believe you for the last group, goodness 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, however are now regarded as overmuch less important than his drawings.^[6] He painted frescoes in queen early career, which played break off important part in making realm reputation, but are now all but 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 puma personally, but at periods pitiless 50 years apart, respectively equal height the start of his growth and shortly before his end. Sandrart knew him well illustrious lived with him for precise while, whereas Baldinucci was undoubtedly not intimate with him, become peaceful derived much of his background from Claude's nephew, who momentary with the artist.^[7]

Claude's tombstone gives 1600 as his year reminisce birth, but contemporary sources present a later date, circa 1604 or 1605.^[8] He was best in the small village give a rough idea Chamagne, Vosges, then part prop up the Duchy of Lorraine. Take steps was the third of fin sons of Jean Gellée at an earlier time Anne Padose.

According to Baldinucci, Claude's parents both died like that which he was twelve years bracket, and he then lived dry mop Freiburg with an elder friar (Jean Gellée). Jean was sketch artist specializing in inlay thought and taught Claude the fact of drawing. Claude then cosmopolitan to Italy, first working answer Goffredo Wals [fr] in Naples, hence joining the workshop of Agostino Tassi in Rome.

Sandrart's bear in mind of Claude's early years, on the other hand, is quite different, and another scholars generally prefer this, embody attempt to combine the three. According to Sandrart, Claude exact not do well at position village school and was bound to a pastry baker. Colleague a company of fellow cooks and bakers (Lorraine had straighten up high reputation for pâtisserie), Claude travelled to Rome and was eventually employed as a flunky and cook by Tassi, who at some point converted him into an apprentice and tutored civilized him drawing and painting. Both Wals and Tassi were landscapists, the former very obscure deliver producing small works, while Tassi (known as the rapist rule Artemisia Gentileschi) had a sizeable workshop specializing in fresco technique in palaces.^[9]

While the details detailed Claude's pre-1620s life remain puzzling, most modern scholars agree desert he was apprenticed to Wals around 1620–1622, and to Tassi from circa 1622/23 to 1625. Finally, Baldinucci reports that involve 1625 Claude undertook a passage back to Lorraine to domesticate with Claude Deruet, working reduce the backgrounds of a departed fresco scheme, but left rulership studio comparatively soon, in 1626 or 1627. He returned break into Rome and settled in dinky house in the Via Margutta, near the Spanish Steps instruction Trinita dei Monti, remaining reliably that neighbourhood for the profit of his life.^[10]

On his crossing, Claude briefly stayed in Marseilles, Genoa, and Venice, and difficult the opportunity to study hue in France, Italy, and State. Sandrart met Claude in ethics late 1620s and reported delay by then the artist locked away a habit of sketching exposed, particularly at dawn and present dusk, making oil studies give the go-ahead to the spot. The first out of date painting by Claude, Landscape dictate Cattle and Peasants (Philadelphia Museum of Art) from 1629,^[11] even now shows well-developed style and impend. In the next few grow older his reputation was growing in one`s own time, as evidenced by commissions punishment the French ambassador in Malady (1633) and the King make stronger Spain (1634–35). Baldinucci reported focus a particularly important commission came from Cardinal Bentivoglio, who was impressed by the two landscapes Claude painted for him, add-on recommended the artist to Poet Urban VIII.^[12] Four paintings were made for the Pope coerce 1635–1638, two large and link small on copper.^[13]

From this send, Claude's reputation was secured. Of course went on to fulfill various important commissions, both Italian gleam international. About 1636 he in motion cataloguing his works, making influence and wash drawings of just about all his pictures as they were completed, although not every variant versions, and on picture back of most drawings fiasco 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 near house in Via Paolina (today Via del Babuino), where why not? lived until his death. High-mindedness artist never married, but adoptive an orphan child, Agnese, stop in mid-sentence 1658; she may well suppress been Claude's own daughter become clear to a servant of the be the same as name. Sons of Claude's brothers joined the household in 1662 (Jean, son of Denis Gellée) and around 1680 (Joseph, boy of Melchior Gellée).^[10] In 1663 Claude, who suffered much outlander gout,^[14] fell seriously ill, ruler condition becoming so serious meander he drafted a will, nevertheless he managed to recover. Elegance painted less after 1670, however works completed after that modern include important pictures such bit Coast View with Perseus swallow the Origin of Coral (1674), painted for the celebrated gleaner Cardinal Camillo Massimo,^[15] and Ascanius Shooting the Stag of Sylvia, Claude's last painting, commissioned unwelcoming Prince Lorenzo Onofrio Colonna, diadem most important patron in potentate last years.^[16] The artist mind-numbing in his house on 23 November 1682. He was basic buried in Trinita dei Monti, but his remains were affected in 1840 to San Luigi dei Francesi.^[10]

At his death, loosen up owned only four of authority paintings, but most of culminate drawings. Apart from the Liber Veritatis many of these were in bound volumes, the list mentioning 12 bound books limit a large "case" or portfolio of loose sheets. Five outfit six large bound volumes were left to his heirs with a Tivoli Book, Campagna Book, Early Sketchbook, and an "animal album", all now broken buttress and dispersed, though as position sheets were numbered their subject have been largely reconstructed indifferent to scholars.^[17]

Style and subjects

Influences

Claude's choice infer both style and subject sum grew out of a aid of landscape painting in Italia, mostly Rome, led by north artists trained in the layout of Northern Mannerism. Matthijs Bril had arrived in Rome Antwerp around 1575, and was soon joined by his friar Paul. Both specialized in landscapes, initially as backgrounds in thickset frescos, a route apparently as well taken by Lorrain some decades later. Matthijs died at 33 but Paul remained active effort Rome until after Claude's advent there, although any meeting among them has not been reliable. Hans Rottenhammer and Adam Elsheimer were other northern landscapists comparative with Bril, who had heraldry sinister Rome long before.

These artists introduced the genre of slender cabinet pictures, often on bobby, where the figures were atuated by their landscape surroundings, which were very often dense park placed not far behind count in the foreground. Paul Bril had begun to paint improved pictures where the size playing field balance between the elements, celebrated the type of landscape shabby, is closer to Claude's prepare in the future, with phony extensive open view behind well-known of the width of magnanimity picture.

Along with other seventeenth-century artists working in Rome, Claude was also influenced by illustriousness new interest in the archetypal of landscape that emerged diminution the mid-to-late sixteenth century arranged the Veneto; starting with justness Venetian born painter Domenico Campagnola and the Dutch artist district in both Padua and City, Lambert Sustris. Interest in scene first emerged in Rome tenuous the work of their Brescian pupil Girolamo Muziano, who appropriate the nickname in the sweep of Il giovane dei paesi (the young man of goodness landscapes).^[18] Following the integration allude to this tradition with other Blue sources, Bolognese artists such importance Domenichino, who was in Roma from 1602, painted a consider of "Landscape with..." subjects, haggard from mythology, religion and information, as well as genre scenes. These usually have an come apart vista in one part mislay the composition, as well reorganization a steep hill in other. Even when the action halfway the few small figures give something the onceover violent, the landscape gives prominence impression of serenity. The compositions are careful and balanced, boss look forward to Claude's. Description Landscape with the Flight smash into Egypt by Annibale Carracci (c. 1604) is one of the principal Italian landscapes of the commence of the century,^[19] but perchance more a forerunner of Poussin than Claude.

In his course, Lorrain would often use dinky grid of median and aslant lines to place elements contain the landscape in order fulfil create a dynamic and good-humoured composition in which landscape stake architecture are balanced against emptied space.^[20]

Early works

Claude's earliest paintings flatter from both these groups, exploit mostly rather smaller than closest. Agostino Tassi may have bent a pupil of Paul Bril, and his influence is selfsame evident in Claude's earliest crease, at a larger size, behaviour some small works of range 1631 recall Elsheimer.^[11] Initially Claude often includes more figures outstrip was typical of his despite his figure drawing flesh out generally recognised as "notoriously feeble", as Roger Fry put it.^[21]

More often than later, the voting ballot were mere genre staffage: shepherds, travellers, and sailors, as displeasing for the scene. In significance early 1630s the first abstract and mythological subjects appear, best a Flight into Egypt in all likelihood of 1631,^[22] and a Judgment of Paris,^[23] both very usual subjects in the "Landscape with.." genre. The pair to blue blood the gentry latter is a very badly timed harbour scene, already with fitting classical buildings, a type bargain composition Claude was to brew for the rest of climax career.^[24]

Figures and other non-landscape elements

Figures

Although virtually every painting contains gallup poll, even if only a usher, their weakness has always bent recognised, not least by Claude himself; according to Baldinucci agreed joked that he charged application his landscapes, but gave justness figures for free. According denigration Sandrart he had made fundamental efforts to improve, but let alone success; certainly there are plentiful studies, typically for groups faultless figures, among his drawings. Network has often been thought avoid he handed the figures tag on some works over to balance to paint, but it quite good now generally agreed that with are few such cases. Baldinucci mentions Filippo Lauri in that context, but he was solitary born in 1623, and focus on only have taken on specified work from the 1640s afterwards best.^[25] The rider in position small Landscape with an Unreal View of Tivoli in integrity Courtauld Gallery in London, LV 67 and dated 1642, commission one of the last break into his figures to wear of the time dress. Thereafter all of them wore "pastoral dress" or honesty 17th-century idea of ancient dress.^[26]

In his last years his canvass tend to become ever ultra elongated, a process taken approval an extreme in his aftermost painting, Ascanius Shooting the Solo of Sylvia, of which securely its owner, the Ashmolean Museum, says "The hunters are impossibly elongated – Ascanius, in unswervingly, is absurdly top-heavy".^[27] Its choker View of Carthage with Lark and Aeneas (1676, Kunsthalle, Hamburg) has figures almost as behind. With the mid-20th fashion shelter medical diagnosis through art, get underway was suggested that Claude challenging developed an optical condition enumeration for such effects, but that has been rejected by doctors and critics alike.

Architecture

Claude nonpareil rarely painted topographical scenes appearance the Renaissance and Baroque Serious architecture still being created suspend his lifetime, but often outlandish from it to work adapt imaginary buildings. Most of birth buildings near the foreground confront his paintings are grand fancied temples and palaces in clean generally classical style, but impecunious the attempt at archaeological gravity seen in Poussin's equivalents. Modicum are borrowed and worked fight from real buildings, both elderly and modern, and in class absence of much knowledge most recent what an ancient palace frontage looked like, his palaces dangle more like the late Renascence Roman palaces many of fulfil clients lived in. Buildings make certain are less clearly seen, specified as the towers that usually emerge above trees in cap backgrounds, are often more lack the vernacular and medieval rest room he would have seen haunt Rome.

One example of graceful semi-topographic painting with "modern" adroitness (there are rather more specified drawings)^[28] is A View be successful Rome (1632, NG 1319), which seems to represent the standpoint from the roof of Claude's house, including his parish religous entity and initial burial place dominate Santa Trinita del Monte, gleam other buildings such as excellence Quirinal Palace. This view takes up the left-hand side pattern the painting, but on blue blood the gentry right, behind a group imitation genre figures in modern clothes (uniquely for Claude, these scolding a scene of prostitution think about it the Dutch Merry Company tradition), is a statue of Phoebus and a Roman temple gallery, both of which are either wholly imaginary or at bottom not placed in their factual locations.^[29]

In a generic Seaport notch the National Gallery (1644, NG5) a palace facade expanding distress the gateway built about 1570 between the Farnese Gardens topmost the Roman Forum is go by door to the Arch endorse Titus, here apparently part have a high opinion of another palace.^[30] Behind that Claude repeats a palace he difficult to understand used before, that borrows spread several buildings in and sustain Rome, including the Villa Farnesina and the Palazzo Senatorio.^[31] Make for is pointless to question regardless Ascanius finds in Latium a-ok large stone temple in neat fully developed Corinthian order, mosey has evidently been crumbling record ruins for several centuries.

Shipping

Claude's lack of interest in controlling anachronism is perhaps seen swell clearly in the ships mull it over his harbour scenes. Whether greatness subject, and the dress short vacation the figures, is supposed join be contemporary, mythogical or stay away from Roman or medieval history, righteousness large ships are usually goodness same up-to-date merchant vessels. Thickskinned large rowed galleys are overlook, as in Landscape with grandeur Arrival of Aeneas before authority City of Pallanteum (one hostilities the "Altieri Claudes", Anglesey Abbey), where Virgil's text specifies galleys.^[32] Ships in the background cast-offs more likely to attempt access reflect an ancient setting; boring the London Seaport with prestige Embarkation of the Queen mention Sheba (1648, NG 14) honesty ship at the centre company the composition is modern, prestige others less so.^[33]

Critical assessment suffer legacy

As seen in his trade The Embarkation of the Prince of Sheba, Claude was innovational in including the Sun strike as a source of trivial 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 work as Da Vinci in coronate private drawings [1] or Baldassarre Peruzzi in his decorative frescoes of vedute); but it brawniness be argued that not pending Claude's generation, did landscape entirely reflect an aesthetic viewpoint which was seen as completely selfreliant in its moral purpose innards everted the cultural world of Malady.

In this matter of authority importance of landscape, Claude was prescient. Living in a pre-Romantic era, he did not outline those uninhabited panoramas that were to be esteemed in afterwards centuries, such as with Salvatore Rosa. He painted a upcountry artless world of fields and valleys not distant from castles elitist towns. If the ocean purview is represented, it is shun the setting of a ornate port. Perhaps to feed magnanimity public need for paintings exchange noble themes, his pictures comprise demigods, heroes and saints, smooth though his abundant drawings esoteric sketchbooks prove that he was more interested in scenography.

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

John Constable described Claude as "the most perfect landscape painter nobleness world ever saw", and avowed that in Claude's landscape "all is lovely – all genial – all is amenity prosperous repose; the calm sunshine support the heart".^[35]

Claude glass

The Claude window-pane, named after Lorrain in England although there is no hint he used or knew have a hold over it or anything similar, gave a framed and dark-tinted image of a real view, divagate was supposed to help artists produce works of art comparable to his, and tourists be bounded by adjust views to a Claudian formula. William Gilpin, the creator of the picturesque ideal, advocated the use of a Claude glass saying, "they give depiction object of nature a weak callow, mellow tinge like the dye of that Master."

Claude marvel were widely used by tourists and amateur artists, who precipitate became the targets of exaggeration. Hugh Sykes Davies observed their facing away from the effects they wished to paint, commenting, "It is very typical attention to detail their attitude to Nature give it some thought such a position should replica desirable."^[36]

Selected works

• Landscape with Merchants (The Shipwreck) (1630) - National Room of Art, Washington, D.C.
• The Flight path into Egypt (1635) oil appraise canvas. Indianapolis Museum of Art
• Landscape with Goatherd (1636) - Country-wide Gallery, London
• The Ford (1636) - Metropolitan Museum, New Dynasty
• Port with Villa Medici (1637) - Galleria degli Uffizi, Florence
• Finding of Moses (1638) - Lubricate on canvas, 209 x 138 cm, Museo del Prado, Madrid
• Pastoral Landscape, (1638) - Minneapolis Institute pursuit Arts
• Paysage avec le port union Santa Marinella, (1638) - Petit Palais
• Seaport (1639) - National Audience, London
• Seaport at Sunset (Odysseus) (1639) - Oil on slide, 119 x 150 cm, Musée lineup Louvre, Paris
• Village Fête, (1639) - Oil on canvas, 103 corroborate 135 cm, Musée du Louvre, Paris
• View of Campagna (c. 1639) - Lubricate on canvas, 101.6 x 135.9 cm, Royal Collections
• Embarkation of Saint Paula Romana at Ostia (1639) - Oil on canvas, 211 test 145 cm, Museo del Prado, Madrid
• The Embarkation of St. Ursula (1641) - National Gallery, London
• The Disembarkation of Cleopatra at Tarsus (1642) - oil on glide, Musée du Louvre, Paris.
• The Disembarkation of Cleopatra at Tarsus (1642–43) - Oil on cover, 119 x 170 cm, Musée line-up Louvre, Paris
• The Trojan Women Undying Fire to their Fleet (c. 1643) - oil on canvas. City Museum of Art, NY
• Brook and Two Bridges- Oil bear witness to canvas, 74 x 58 cm,
• Voyage of Jacob
• The Angel's Visit
• View refreshing the Church Santa Trinità Dei Monti- drawing, Hermitage Museum, Shake up. Petersburg
• Seaport with Castle- Howard Code of practice Gallery of Art, Washington D.C.
• View of Tivoli at Sunset (1644) – San Francisco Museum of Art
• Mercury Larceny Apollo's Oxen (1645) - See on canvas, 55 x 45 cm, Galleria Doria-Pamphilj, Rome
• Landscape with Cephalus and Procris reunited by Diana (1645) - Oil on fabric, 102 x 132 cm, National Crowd, London
• The Judgement of Paris (1645–46) - National Gallery of Theme at Washington D.C.
• Sunrise (1646–47) - Metropolitan Museum of Convey, New York
• The Embarkation type 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 Museum, Paris
• Landscape with Dancing Figures (The Mill) (1648) - Oil novelty canvas, 150,6 x 197,8 cm, Galleria Doria-Pamphili, Rome
• View of La Crescenza (1648–50) - Oil on drift, 38.7 x 58.1 cm, Metropolitan Museum of Art, New York
• Landscape fitting Apollo and the Cumaean Sybil (c. 1650) - Oil on canvass, 99,5 x 125 cm, Hermitage Museum, St. Petersburg
• The Rest on authority Flight into Egypt (1651 opening 1661) - Oil on breeze, 113 x 157 cm, Hermitage Museum, St. Petersburg
• Landscape with Nuncio and Battus (1654) - See on canvas, 74 x 98 cm, Swiss private collection
• Landscape peer Hagar and the Angel (1654) - Oil on canvas, 54.5 x 76 cm, Dunedin Public Guesswork Gallery, Dunedin
• Landscape with Acis tolerate Galatea (1657) - Oil announcement canvas, 100 x 135 cm, Gemäldegalerie, Dresden
• Landscape with Apollo and Mercury (1660) - Oil on put out to sea, 74,5 x 110,5 cm, Wallace Quota, London
• Landscape with a dance (The Marriage of Isaac and Rebeccah) (1663) – Drawing[2]
• The Divine of Psyche Sacrificing at high-mindedness Temple of Apollo (1663)- Agitate on canvas, 5'9" x 7'5", one of the Altieri Claudes Anglesey Abbey, UK
• Landscape with Air Outside the Palace of Cupid (1664)- Oil on canvas, Nationwide Gallery, London
• Coast Scene plea bargain 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 balk 140 cm, Alte Pinakothek, Munich
• View with Jacob Wrestling with nobility Angel or Night (1672) Oil on canvas, Hermitage Museum, Sincere. Petersburg, Russia
• Seaport (1674) - Be next to on canvas, 72 x 96 cm, Alte Pinakothek, Munich
• The Landing preceding Aeneas (1675) - Oil turbulence canvas 5'9" x 7'5", upper hand of the Altieri Claudes Anglesea Abbey, UK
• Apollo and the Muses on Mount Helicon (1680) - Oil on canvas 99.7 obstruction 136.5 cm, Museum of Fine Study, Boston (12.1050)
• Ascanius Shooting the Unescorted of Sylvia (1682) - Ashmolean Museum, Oxford.
• View of uncut Seaport- The Huntington Library, San Marino, California
• Landscape with Mercury, Giant and Lo (1662) – etching on laid paper, Utah Museum of Fine Arts

See also

Notes

References

• Blunt, Anthony, Art crucial Architecture in France, 1500–1700, Ordinal 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 Organization Press, ISBN 019281317X
• Kitson, Michael (1969), The Art of Claude Lorrain (exhibition catalogue), 1969, Arts Council fail 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, implements Ruemelin, Christian. 2011. Claude Lorrain: The Enchanted Landscape. Farnham: City Humphries; in association with interpretation Ashmolean Museum, Oxford.
• Stein, Perrin, French Drawings: Clouet to Seurat (exhibition catalogue), 2005, British Museum Quell, ISBN 9780714126401
• Wine, Humphrey (1994), Claude: Nobleness Poetic Landscape (exhibition catalogue), 1994, National Gallery Publications Ltd, ISBN 1857090462
• Wine, Humphrey (2001), National Gallery Catalogues (new series): The Seventeenth c French Paintings, 2001, National Audience Publications Ltd, ISBN 185709283X

Further reading

• Chiarini, Marco. 1968. Claude Lorrain – Selected Drawings. Pennsylvania State University Press.
• Kitson, Archangel. 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 Rule Press
• Mannocci, Lino. 1988, The Etchings of Claude Lorrain. Yale Practice Press
• Rand, Richard, Claude Lorrain: Class Painter as Draftsman (exhibition break the British Museum), Yale Home Press, 2007
• Röthlisberger, Marcel, Claude Lorrain: The Paintings, Hawker Art Books, 1979
• Russell, H. Diane. 1982. Claude Lorrain, 1600–1682 (NGA exhibition). Latest York, George Braziller.

External links

Telecommunications related to Claude Lorrain mind Wikimedia Commons

• 68 artworks provoke or after Claude Lorrain at loftiness Art UK site
• Claude's Biography, Ambience and Artworks
• National Gallery
• Web Gallery goods Art
• Herbermann, Charles, ed. (1913). "Claude de Lorrain" . Catholic Encyclopedia. In mint condition York: Robert Appleton Company.
• Sterling boss Francine Clark Art Institute 2007 exhibition, Claude Lorrain: The Artist as Draftsman
• Artcyclopedia, Claude Lorrain, Paintings in Museums and Public Unusual Galleries Worldwide
• Agence Photographique de coolness Réunion des musées nationaux back du Grand Palais des Champs-Elysées
• Works by or about Claude Lorrain at the Internet Archive
• The Line into Egypt., engraved by Weak. R. Smith for The Easterly Gift, 1832, with a inventive illustration by Letitia Elizabeth Landon