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 :. | Rest on the Flight into Egypt (mk17) | Vedute von Delphi mit einer Opferprozession | Landscape with Shepherds The Pont Molle fgh | View of the Aventine in Rome (mk17) | View of La Crescenza |
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Mabel Pryde
(February 12,1871, Edinburgh - July 1918, England.) was an artist, best known for being the wife of artist William Nicholson and mother of artists Ben Nicholson and Nancy Nicholson and the architect Christopher 'Kit' Nicholson. Mabel was the daughter of David Pryde, Headmaster of Edinburgh Ladies College 1870-1891, and Barbara Lauder, whose father William was a brother of the famous Scottish artists Robert Scott Lauder and James Eckford Lauder. Mabel had one brother, the artist James Pryde. As children they lived at 10 Fettes Row, a north-facing Edinburgh house. Pryde trained at the Bushey School of Art under the tutilage of Hubert von Herkomer. Here she met fellow student William Nicholson whom she married in 1893. She introduced Nicholson to her brother James and all three moved to Eight Bells, Denham, Buckinghamshire, where Nicholson and James Pryde would collaborate on the famous series of lithographic posters they disseminated under the pseudonym J. & W. Beggerstaff. Pryde and Nicholson had four children - Ben (1894-1982); Anthony (1897-1918) who was killed in action during the First World War; Annie Mary "Nancy" (1899-1978), and Christopher "Kit" (1904-1948). In July 1918 Pryde died from influenza in during the 1918 flu pandemic and was survived by her husband.
William Glackens
1870-1938 William Glackens Galleries William James Glackens (March 13, 1870?CMay 22, 1938) was a U.S. realist painter. Glackens studied at the Pennsylvania Academy of the Fine Arts and later moved to New York City, where he co-founded what came to be called the Ashcan School art movement. This group of artists, dubbed by the press "the Eight Independent Painters" or The Eight, chose to exhibit their works without pre-approval by the juries of the existing art establishment. He became known for his dark-hued paintings of street scenes and daily life in the city's neighborhoods. His later work was brighter in tone, and showed the influence of Renoir. During much of his career as a painter, Glackens also worked as an illustrator for newspapers and magazines in Philadelphia and New York City.
James Otto Lewis
1799-1858