Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Claude Lorrain 03

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
22180		Two Boats (mk17)	1635/50 Chalk drawing and ink wash.British Museum,London
22189		Two Female Figures (mk17)	1640/50 Pen drawing and Wash,heightened with white National Gallery of Art,Washington 16.6 x 13.3 cm
22179		Two Frigates (mk17)	1638/39 Pen drawing and wash.The Art Institute of Chicago
57264		Ulysses Kerry race will be the return of her father Dubois	mk255 for in 1644. 1.19 x 1.50 meters canvas. Paris, the Louvre
20532		Ulysses Returns Chryseis to Her Father (mk05)	Canvas,47 x 59''(119 x 150 cm)Acquired by Louis XIV from the Duc de Richelieu in 1665
6076		Ulysses Returns Chryseis to her Father vgh	1648 Oil on canvas, 119 x 150 cm Mus??e du Louvre, Paris
56517		utsikt over hamn med bimma	mk248 en av claudes typiska bamnuyer med boha byggnder flankerar lompositionen med ljus som lyer upp bela scenen fran en punkt strax ovanfor borisonten. den bar malningen illustrerar ocksa bur ban bar asradkommit ett djup genom att man ser mot den disiga borisonten genom en graduis nedtoning av de tydliga konturerna ocb starka fargerna.
83418		Vedute von Delphi mit einer Opferprozession	Oil on canvas Dimensions 150 x 200 cm cyf
92774		Vedute von Delphi mit einer Opferprozession	Medium oil on canvas Dimensions 150 X 200 cm TTD
66233		Verstobung der Hagar	1668 107 x 140 cm (42.13 x 55.12 in)
70233		Verstobung der Hagar	Medium Oil on canvas Dimensions 0107 X 140 cm
22187		View from Monte Mario (mk17)	c 1640 Brush drawing British Museum,London 18.5 x 26.8 cm
20530		View of a Port with the Capitol (mk05)	Canvas 22 x 28 1/4 ''(56 x 72 cm)Seized in the Revolution from the collection of the Duc de Brissac
22216		View of Delphi with a Procession (mk17)	1672 Pen drawing and wash,heightened with white Royal Collections,Windsor Castle 25.4 x 31.8 cm
22230		View of Delphi with a Procession (mk17)	1673 Oil on canvas.The Art Institute of Chicago 101.7 x 127.3 cm
2583		View of La Crescenza	1648-50 Metropolitan Museum of Art, New York
22238		View of La Crescenza (mk17)	c 1647 Oil on canvas The Metropolitan Museum of Art,New York 106 x 135 cm
22215		View of the Aventine in Rome (mk17)	1673 Pen drawing and wash British Museum,London 19.2 x 26.4 cm
20531		View of the Campo Vaccino ()mk05	Canvas 22 x 28 1/4''(56 x 72 cm)Seized in the Revolution from the collection of the Brissac INV
22182		View of the Sasso (mk17)	Pen and ink.The Art Institute of Chicago 16.2 x 40.2 cm
22175		View on the Capitoline Hill,Rome (mk17)	1635/40 Pen drawing and wash British Museum,London 20.3 x 26.6 cm
94844		Village Fete	Oil on canvas Dimensions 103 cm x 135 cm cyf
64365		women in a garden	1866 paris, muse'e du jeu de paume
22183		Wooded View (mk17)	1635/40 Chalk drawing and ink wash Graphische Sammlung,Albertina,Vienna 22.5 x 32.5 cm

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Claude Lorrain

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"

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