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 :. | Pastoral Landscape | Landscape with Acis and Galathe | Landscape with Cephalus and Procris Reunited by Diana sdf | Coast Scene with the Rape of Europa (mk25) | View of La Crescenza |
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Johann Michael Sattler
(28 September 1786, Herzogenburg, Lower Austria - 28 September 1847, Mattsee, Salzburg) was an Austrian portrait and landscape painter, best known for his large-scale panoramas. Sattler attended the Vienna Academy beginning in 1804 under the tutelage of Hubert Maurer. In 1819 Sattler moved to Salzburg, where in 1824 he began to paint a 360-degree panorama of the city as seen from the top of Salzburg's castle. The massive work covered 125 square metres and was first exhibited in 1829. Salzburg made him an honorary resident. Stattler toured across Europe with the painting for ten years, writing about his return in 1838, "with 30 tons and crossing approximately 30,000 kilometres of land and water, a feat no one had ever done before me and one which would be difficult to repeat in the future." Satler's son, the artist Hubert Sattler, donated the work to the city in 1870. The painting is now on display at the Salzburg Museum in a specially designed area called the Panorama Museum.
CATARINO
Italian painter, Venetian school (known 1362-1382 in Venice)
Robert Scott Lauder
Robert Scott Lauder (25 June 1803 - 21 April 1869) was a Scottish mid-Victorian artist who described himself as a "historical painter". He was one of the original members of the Royal Scottish Academy. Lauder was born at Silvermills, Edinburgh, on 25 June 1803, the third son of John Lauder of Silvermills (died 1838), Burgess of Edinburgh and proprietor of the tannery at Silvermills, by his wife Helen Tait (d.1850). After attending the Royal High School he went to London, where his eldest brother William was engaged in the family business. He returned to Edinburgh about 1826 and was elected one of the original members of the Royal Scottish Academy in 1830. On 9 September 1833 at St.Cuthberts in Edinburgh he married Isabella Ramsay Thomson and they then went abroad, accompanied by his younger artist-brother, James Eckford Lauder. Robert studied for some years in Rome, Florence, Bologna, Venice and Munich. Lauder returned to London in 1838 where he lived for several years, where his three children - Isabella, John, and Robert, were baptised at St.Thomases Church, Southwark, in 1840, 1841, and 1844. Whilst in London he exhibited at the Royal Academy and competed in the Westminster Hall competition of 1847, sending his Christ walking on the Sea, which was subsequently purchased by Lady Angela Burdett-Coutts, 1st Baroness Burdett-Coutts. He became the first president of the short-lived National Institution of Fine Arts and also exhibited there. He later removed back to Edinburgh in 1849 where both his sons - Robert Scott Lauder (born 1844), who became a physician, and John Thomson Lauder (1841-1865) - attended the Edinburgh Academy. Sir Walter Scott's novels provided him with subjects for many of his most successful historical paintings. About 1860 he suffered a paralytic stroke and did not practice after 1861. He died at Edinburgh from a bout of bronchitis on 21 April 1869, still paralysed. He is buried in Warriston Cemetery in Edinburgh.