| The Trojan Women Setting Fire to Their Fleet | |
|---|---|
 | |
| Artist | Claude Lorrain |
| Year | c. 1643 |
| Medium | Oil on canvas |
| Dimensions | 105.1 cm× 152.1 cm(41.4 in× 59.9 in) |
| Location | Metropolitan Museum of Art, New York City |
The Trojan Women Set Fire to their Fleet is a mid-17th century painting by French artist Claude Lorrain. Done in oil on canvas, the painting is currently in the collection of the Metropolitan Museum of Art.
Claude Lorrain painted The Trojan Women Set Fire to their Fleet around 1643 at the behest of Cardinal Girolamo Farnese. [1] The scene is Lorrain's take on a famed event in Book 5 of the Aeneid in which the exiled women of Troy, spurred on by the Greek goddess Juno, burn the Trojan fleet to force their men to stop roaming and settle in Sicily. However, Aeneas prays to the god Jupiter to save the ships from the flames by summoning a rainstorm; this is alluded to by Lorrain via his inclusion of dark clouds in the top right of the painting. [1]
Lorrain's choice of scene carries additional subtext, as his patron commissioned the painting after returning to Rome from an extensive period of work abroad, with Trojan Women thus evoking thoughts of an end to wandering. According to the Met, the painting later inspired British maritime artist J. M. W. Turner. [1]
Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism, the Counter Reformation and Catholic Revival, but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread popularity.
Claude Lorrain was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in Italy, and is one of the earliest significant artists, aside from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes often transitioned into the more prestigious genre of history paintings by addition of a few small figures, typically representing a scene from the Bible or classical mythology.
Claude-Joseph Vernet was a French painter. His son, Antoine Charles Horace Vernet, was also a painter.
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Paul Bril was a Flemish painter and printmaker principally known for his landscapes. He spent most of his active career in Rome. His Italianate landscapes had a major influence on landscape painting in Italy and Northern Europe.
Jan Dirksz Both was a Dutch painter, draughtsman, and etcher, who made an important contribution to the development of Dutch Italianate landscape painting.
A Claude glass is a small mirror, slightly convex in shape, with its surface tinted a dark colour. Bound up like a pocket-book or in a carrying case, Claude glasses were used by artists, travelers and connoisseurs of landscape and landscape painting.
Events from the year 1664 in art.
George Lambert was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake.
View of the Garden of the Villa Medici is a small painting by Diego Velázquez of the garden at the Villa Medici in Rome, with some figures standing watching an unseen event, possibly the works behind the scaffolding in the middle of the building in the background. It is now in the Prado. There is some controversy as to its date, with some scholars believing it was made during the artist's first trip to Italy (1629–1631) while others believe its advanced technique indicates it was created on his second trip (1649–1651). Art historian Enriqueta Harris believes that records that came to light in 1976 of repairs made during 1648–49 to the villa, and specifically to the grotto that is boarded up in Velázquez's painting, confirms the later date. There is another version with similar features and the same title, and the two are of similar size and vary little in their execution and manner of depicting the garden.
Landscape with Ascanius Shooting the Stag of Sylvia is a painting of 1682 in oil on canvas by Claude Lorrain, a painter from the Duchy of Lorraine who spent his career in Rome. It was painted in Rome for Prince Lorenzo Onofrio Colonna (1637–1689), Claude's most important patron in his last years, and is now in the Ashmolean Museum, Oxford. It is signed, dated with the year, and inscribed with the subject, as Claude sometimes did with his less common subjects.
Giovanni Angelo, better known as Angeluccio, was an Italian or Flemish landscape artist. He was a prominent pupil of Claude Lorrain and was active in Rome around 1645-1650. As an eminent member of Bamboccianti, he acquainted and befriended other influencer artists of the time, including Michelangelo Cerquozzi with whom he often collaborated. He is regarded as an artist of considerable talent and his works are often mistaken for his master's.
Village Fête is an oil-on-canvas by French artist of the Baroque Claude Lorrain, painted in 1639 and given to Louis XIV in 1693 together with its companion Seaport at Sunset, by landscape architect and gardener André Le Nôtre. It is currently held and exhibited at the Louvre in Paris.
Dido building Carthage, or The Rise of the Carthaginian Empire is an oil on canvas painting by J. M. W. Turner. The painting is one of Turner's most important works, greatly influenced by the luminous classical landscapes of Claude Lorrain. Turner described it as his chef d'oeuvre. First exhibited at the Royal Academy summer exhibition in 1815, Turner kept the painting until he left it to the nation in the Turner Bequest. It has been held by the National Gallery in London since 1856.
Abraham Wildey Robarts, of Hill Street, Berkeley Square, Middlesex, was an English politician and banker.
Four Times of the Day is a series of four paintings depicting four times of the day: Morning, Midday, Evening, and Night by the French landscape painter Claude Joseph Vernet (1714–1789).
The Liber Veritatis, meaning Book of Truth in Latin, is a book of drawings recording his completed paintings made by Claude Lorrain, known in English as "Claude". Claude was a landscape painter in Rome, who began keeping this record in 1635/6, as he began to be highly successful, and maintained it until his death in 1682. The book is now in the British Museum, and was owned by the Dukes of Devonshire from the 1720s until 1957. It was reproduced in print form from 1774 to 1777 by Richard Earlom and had a considerable influence on British landscape art. The title Liber Veritatis was apparently invented for these reproductions, but is now also used for the original.
Landscape with the Temptation of St Anthony is a 1637 or 1638 painting by Claude Lorrain, now in the Prado Museum in Madrid. It was one of several paintings commissioned from the artist for the palacio del Buen Retiro.
Landscape with the Burial of St. Serapia is a 1639–40 oil painting by the French artist Claude Lorrain. It was one of several paintings commissioned from the artist on behalf of King Philip IV of Spain. It is now in the collection of the Prado Museum in Madrid, Spain.
Landscape with the Port of Santa Marinella is an oil on copper painting by Claude Lorrain in the collection of the Petit Palais in Paris. It dates from 1637 or 1638, and is one of a pair commissioned from the artist by pope Urban VIII. It depicts the little harbour of Santa Marinella near Civitavecchia which the Pope wanted to turn into a major port. The other painting in the pair, in the Fitzwilliam Museum, Cambridge, is a view of Castel Gandolfo, a palace on the banks of Lake Albano. It was acquired by the Petit Palais in 1902 as part of the Dutuit bequest.
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