French 1600-1682 Claude Lorrain Galleries In Rome, not until the mid-17th century were landscapes deemed fit for serious painting. Northern Europeans, such as the Germans Elsheimer and Brill, had made such views pre-eminent in some of their paintings (as well as Da Vinci in his private drawings or Baldassarre Peruzzi in his decorative frescoes of vedute); but not until Annibale Carracci and his pupil Domenichino do we see landscape become the focus of a canvas by a major Italian artist. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Landscape as a subject was distinctly unclassical and secular. The former quality was not consonant with Renaissance art, which boasted its rivalry with the work of the ancients. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. Rome, the theological and philosophical center of 17th century Italian art, was not quite ready for such a break with tradition. In this matter of the importance of landscape, Lorrain was prescient. 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. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography. Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. 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). John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude??s landscape "all is lovely ?C all amiable ?C all is amenity and repose; the calm sunshine of the heart"  Related Paintings of Claude Lorrain :. | Vedute von Delphi mit einer Opferprozession | Apollo and the Muses on Mount Helion | Port of Ostia with the Embarkation of St Paula (mk17) | Ulysses Returns Chryseis to Her Father (mk05) | Landscape with Apollo and Mercury |
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thomas malton
Thomas Malton (1748 - 7 March 1804), the younger, was an English painter of topographical and architectural views, and an engraver. J M W Turner and Thomas Girtin were amongst his pupils. He is designated the younger to differentiate him from his father Thomas Malton the elder. Malton was born in London, the son of Thomas Malton the elder, a notable architectural draughtsman and writer on geometry. He was with his father during the latter's residence in Dublin, Ireland, and then passed three years in the office of James Gandon the architect, in London. In 1774 Malton received a premium from the Society of Arts. He entered the Royal Academy and in 1782 gained a gold medal for his design for a theatre. In 1773 he sent the Academy a view of Covent Garden, and was afterwards a constant exhibitor, chiefly of views of London streets and buildings, drawn in Indian ink and tinted. In these there is little attempt at pictorial effect, but their extreme accuracy in the architectural details renders them of great interest and value as topographical records. They are enlivened with groups of figures, in which Malton is said to have been assisted by Francis Wheatley. After leaving Ireland, Malton appears to have always lived in London - with the exception of a brief stay at Bath in 1780. From 1783 to 1789 he resided in Conduit Street (London), and at an evening drawing class which he held there, received as pupils Thomas Girtin and young J M W Turner, whose father brought him to be taught perspective. Turner paid tribute to him in later life by saying My real master was Tom Malton. In 1791 Malton removed to Great Titchfield Street, and finally, in 1796, to Long Acre. He made a few of the drawings for Watts's Seats of the Nobility and Gentry published in 1779, and executed some large aquatints of buildings in both London and Bath, being one of the first to avail himself of the newly introduced art of aquatinta for the purpose of multiplying copies of his views. He also painted some scenes for Covent Garden Theatre. In 1792 Malton published the work by which he is now best known, A Picturesque Tour through the Cities of London and Westminster, illustrated with a hundred aquatint plates. Between 1798 -1800 he produced Views from Cambridge, and at the time of his death was engaged upon a similar series of views of Oxford, some of which appeared in parts in 1802, and were reissued with others in 1810. Malton died in Long Acre, London on 7 March 1804, leaving a widow and six children. His portrait, painted by Gilbert Stuart, was engraved by William Barney in 1806. A portrait of his son Charles, when a child, drawn by Sir Thomas Lawrence, was engraved by F C Lewis. Malton's brother James Malton was also a notable artist, draughtsman and engraver.
Ismael Nery
Ismael Nery (October 9, 1900 - April 6, 1934) was a Brazilian artist. Born in Belem, Pare of Dutch, Native-Brazilian and African ancestry,[1] he studied at the Escola Nacional de Belas Artes (National School of Fine Arts) in Rio de Janeiro and at the Academie Julian in Paris. He created numerous paintings, wrote many poems and also helped design Brazil's National Patrimony of the Treasury department. Nery married a poet, Adalgisa Nery, in 1922. He contracted tuberculosis in 1931, and died of it in 1934.
Joseph Chelmonski
1850-1914