Podcast appearances and mentions of claude lorrain

achel Teichman, LMSW and Victor Varnado, KSN introduce you to the "Claude Glass," a unique historical object used for artistic and aesthetic purposes. Discover its role in art and landscape appreciation during the 18th century. Did you know that the Claude Glass was named after the French landscape painter Claude Lorrain?Produced and hosted by Victor Varnado & Rachel TeichmanFull Wikipedia article here: https://en.wikipedia.org/wiki/Claude_glassWE APPRECIATE YOUR SUPPORT ON PATREON!https://www.patreon.com/wikilistenpodcastFind us on social media!https://www.facebook.com/WikiListenInstagram @WikiListenTwitter @Wiki_ListenGet bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The episode will present the war of the roses, Henry VIII and the Anglican Church, the reformation, Elisabeth I, puritans, the Spanish Armada, enclosure, wool industry, primogeniture, sturdy beggars, mercantilism and overpopulation.Picture: Seaport at sunset, a painting from 1639 by Claude Lorrain, showing the spirit of Mercantilism. WikipediaSubscribe: Don't miss any episodes, make sure you subscribe to the podcast!Social media: Facebook (www.facebook.com/oldglorypodcast), Twitter/X (@oldglorypodcast), Instagram (@oldgloryhistorypodcast)Rating: If you like the podcast, please give it a five-star rating in iTunes or Spotify!Contact: oldglorypodcast@gmail.comLiterature on the American Colonial Era:- American colonies: the settling of North America, Alan Taylor- Colonial America, Richard Middleton- The British in the Americas 1480-1815, Anthony McFarlane- The Americans: Colonial experience, Daniel Boorstin- The Barbarous years, Bernard Bailyn- The American Colonies, R.C. Simmons- Colonial America 1607-1763, Harry Ward- The Forty years that created America, Edward Lamont- Wilderness at dawn, Ted Morgan- A History of Colonial America, Max Savelle- The Brave new world, Peter Charles Hoffer- Founding of the American colonies 1583-1660, John Pomfret- The colonies in transition 1660-1713, Wesley Frank Craven Hosted on Acast. See acast.com/privacy for more information.

Rachel Teichman, LMSW and Victor Varnado, KSN introduce you to the "Claude Glass," a unique historical object used for artistic and aesthetic purposes. Discover its role in art and landscape appreciation during the 18th century. Did you know that the Claude Glass was named after the French landscape painter Claude Lorrain?Produced and hosted by Victor Varnado & Rachel TeichmanFull Wikipedia article here: https://en.wikipedia.org/wiki/Claude_glassWE APPRECIATE YOUR SUPPORT ON PATREON!https://www.patreon.com/wikilistenpodcastFind us on social media!https://www.facebook.com/WikiListenInstagram @WikiListenTwitter @Wiki_ListenGet bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Ferdinand Bellermann salió del puerto de Hamburgo en mayo de 1842 y, mes y medio después, llegó a La Guaira cumpliendo así uno de sus deseos más preciados: conocer el nuevo mundo. Llegó estimulado por Alejandro de Humboldt, quien había venido al país entre 1799 y 1804 para realizar sus importantes expediciones científicas. Fue Humboldt, precisamente, quien intercedió ante el rey prusiano Federico Guillermo IV para que le otorgara la ayuda necesaria para realizar esta travesía, ya que en estos viajes científicos, era imprescindible la presencia de artistas para registrar e ilustrar la naturaleza. Bellermann poseía una sólida formación académica, pues, estudió con reconocidos paisajistas alemanes. Además de pintor, le interesaba la geología. Creció con el gusto por las excursiones, lo que desarrolló su interés por el paisaje, la botánica y, asimismo, el conocimiento de culturas extranjeras. Para un espíritu romántico como el de Bellermann, llegar a Venezuela fue el encuentro con la exuberancia tropical, algo que agudizó su sensibilidad hacia lo sublime. El paisaje venezolano estimuló sin duda esta percepción. En sus pinturas, vemos una naturaleza amplia, panorámica, envolvente. Esta emotividad la mantuvo también en sus ilustraciones botánicas que realizó de manera muy detallada. Mientras hacía sus recorridos por el país, tomaba notas y realizaba bocetos en dibujos y en óleos de pequeños formatos. Años después, en Berlín, retomó estas imágenes para pintarlas en versiones que consideraba definitivas. Si bien la mayoría de estas obras y bocetos quedaron en Alemania como retribución al compromiso adquirido con el rey Federico Guillermo IV, dos obras notables se encuentran en la Galería de Arte Nacional en Caracas: En el Orinoco, pintada en 1860, dieciséis años después de esta expedición, y Atardecer a orillas del río Manzanares, que pintó posteriormente en 1867. En ambas piezas la vegetación se muestra majestuosa, lo que le ha valido el apodo de “pintor de las selvas vírgenes”. En el Orinoco, vemos la imagen del río al atardecer. La ciudad de Angostura se encuentra al fondo. Las figuras humanas y los botes se ven reducidos ante la presencia poderosa de la naturaleza. La luz del atardecer lo inunda todo. Igual sucede en Atardecer a orillas del río Manzanares, obra en la que el sentimiento de “lo sublime” se manifiesta en la visión solitaria e imponente de la vegetación y el río. Ambas pinturas presentan, sin duda, una visión romántica de la naturaleza, lírica y hermosa. Algunos historiadores consideran erróneamente la obra de Bellermann como precursora del impresionismo. Su técnica difiere notablemente de la de los impresionistas. Más bien, profundizó en el tratamiento detallista del paisaje propio de su formación alemana. Tuvo, además, gran admiración por las pinturas de Claude Lorrain, Nicolás Poussin y William Turner, quienes fueron insignes paisajistas. En 1845 Ferdinand Bellermann regresó a Hamburgo llevando más de 650 bocetos realizados en Venezuela. No dejó de pintar nuestro paisaje hasta su muerte en 1889. Escrito y Narrado por Susana Benko FOTOGRAFIA: Ferdinand Bellermann Atardecer a orillas del río Manzanares, Cumaná 1867 Óleo sobre tela 88,7 x 122 cm Colección Fundación Museos Nacionales-Galería de Arte Nacional Fotografía: © Carlos Castrejón

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He's known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude. He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire). While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude's death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819. Earlom used etching to mimic Claude's ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner's painted compositions, which he called Liber Studiorum. They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West. Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.   Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York. Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York. Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York. Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York. Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York. Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52.  White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome. Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant'Ignazio, Rome. Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York. Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence. Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid. Callot's Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens' Consequences of War and Velasquez's Surrender at Breda). Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel's Architecture françoise, volume 4, book 6. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York. Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków. Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich. Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln. Tru's diagrams of Poussin's Et in Arcadia Ego. Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library. Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London. One of many Claude Lorrain paintings with its corresponding diagram. Several diagrams showing compositional plans according to the Golden Ratio. Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence. Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris. Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London. Claude Lorrain (French, c. 1600–1682). Index of owners of Claude's paintings in the Liber Veritatis. British Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York. James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York. Claude Glass. Science Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.  Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York. Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.  

1 Corinthians 1:8-9 | William Featherston | Richard Sibbes | Hope is Alive by Infraction | The Herdsman by A Follower of Claude Lorrain

Episode 12: Where is the Land in Landscape?   “Where is the Land in Landscape?” investigates the histories of landscape painting in the canon of Western Art and assesses a few contemporary works of art that counter European modes of thinking about land, territory, nature and the environment. In the first part of the episode we cover historical painters working in Dutch, French, British and American landscape traditions. In the second part we at contemporary art including Cherokee artist Kay WalkingStick's paintings of place and space, the protest performance art piece Mirror Shield Project: Water Serpent Action at the Oceti Sakowin initiated by Cannupa Hanska Luger and Rory Wakemup, and Rebecca Belmore's Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother.   Sources + further reading: Adams, Ann Jensen. “Competing Communities in the ‘Great Bog of Europe': Identity and Seventeenth-Century Dutch Landscape Painting.” In Mitchell (see below). Auricchio, Authors: Laura. “The Transformation of Landscape Painting in France.” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/lafr/hd_lafr.htm. Baetjer, Authors: Katharine. “Claude Lorrain (1604/5?–1682).” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/clau/hd_clau.htm. Belmore, Rebecca. Artist's website. https://www.rebeccabelmore.com/. Benally, Razelle. How to Build Mirror Shields for Standing Rock Water Protectors, 2016. https://vimeo.com/191394747. Cole, Thomas. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow. Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/10497. Hanska, Cannupa. “MIRROR SHIELD PROJECT.” Accessed December 12, 2021. http://www.cannupahanska.com/mniwiconi. Harris, Beth and Steven Zucker. "Constable and the English Landscape." Smarthistory, August 9, 2015. https://smarthistory.org/constable-and-the-english-landscape/. Liedtke, Authors: Walter. “Landscape Painting in the Netherlands.” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/lpnd/hd_lpnd.htm. Mitchell, W. J. T. Landscape and Power.  Chicago: University of Chicago Press, 1994. Morris, Kate. Shifting Grounds: Landscape in Contemporary Native American Art. Seattle: University of Washington Press, 2019. Tate. “Landscape – Art Term.” Tate. https://www.tate.org.uk/art/art-terms/l/landscape. WalkingStick, “Kay. Artist's website. http://www.kaywalkingstick.com/.   Music Credits: Alfred Cellier (British) - The Pirates of Penzance (Overture) https://commons.wikimedia.org/wiki/File:DOyly_Carte_1957_-_The_Pirates_of_Penzance_01_-_Overture.ogg Hector Berlioz (French) - Symphonie Fantastique 2nd movement excerpt https://commons.wikimedia.org/wiki/File:Hector_Berlioz_Symphonie_fantastique_2nd_movement_excerpt.mp3 Patrick Gilmore (American) - When Johnny Comes Marching Home https://commons.wikimedia.org/wiki/File:When_Johnny_Comes_Marching_Home,_U.S._Military_Academy_Band.wav Standing Rock Water Protestors https://commons.wikimedia.org/wiki/File:Call_to_block_Pipeline_CannonBall_,North_Dakota_SACRED_STONE_CAMP.webm   Credits: Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com 

“Sur le motif“ Peindre en plein air 1780 1870à la Fondation Custodia, Parisdu 3 décembre 2021 au 3 avril 2022Interview de Alice-Anne Tod, ancienne conservatrice en formation à la Fondation Custodia et auteure des notices des œuvres du catalogue en ligne,par Anne-Frédérique Fer, à Paris, le 2 décembre 2021, durée 23'05.© FranceFineArt.Communiqué de presseCommissariat :Ger Luijten, directeur de la Fondation Custodia, Collection Frits Lugt, ParisMary Morton, conservatrice et cheffe du département des peintures françaises de la National Gallery of Art de WashingtonJane Munro, conservatrice du département des peintures, dessins et estampes du Fitzwilliam Museum de CambridgeCette exposition , qui réunit plus de cent cinquante études à l'huile appartenant à la Fondation Custodia à Paris, à la National Gallery of Art de Washington, au Fitzwilliam Museum de Cambridge et à une collection particulière, propose une nouvelle approche de la peinture de plein air en Europe entre 1780 et 1870.La pratique est, certes, attestée dès avant le début de cette période. Les expériences italiennes de Claude Lorrain (1600-1682) évoquées par son biographe et le remarquable ensemble d'oeuvres de François Desportes (1661–1743) conservé à Sèvres en témoignent. Ce n'est toutefois qu'à partir de la fin du XVIIIe siècle que l'usage de l'esquisse à l'huile en plein air fit partie intégrante de la formation des paysagistes européens. À la croisée de la peinture et du dessin, ces études de petit format étaient généralement exécutées sur papier. Peintes rapidement sur le motif, elles avaient pour objectif d'exercer l'oeil et la main à saisir les fugitifs effets de lumière et de couleur. Parfois terminées ultérieurement en atelier, elles n'étaient toutefois pas conçues comme des oeuvres finies destinées à être exposées ou vendues. Elles constituaient pour l'artiste de précieuses références sur lesquelles il se basait pour donner à ses travaux plus formels fraîcheur et immédiateté.L'esquisse de plein air à l'huile, sur papier ou sur toile, fut adoptée par des artistes originaires de l'Europe entière, et au-delà. Le visiteur trouvera donc dans l'exposition des oeuvres de Pierre-Henri de Valenciennes, Achille-Etna Michallon, Camille Corot, Rosa Bonheur, John Constable, Joseph Mallord William Turner, Christoffer Wilhelm Eckersberg, Johan Thomas Lundbye, Vilhelm Kyhn, Johann Martin von Rohden, Carl Blechen et bien d'autres encore. Le parcours n'est ni chronologique, ni organisé par écoles, mais se structure autour des motifs abordés : arbres, rochers, l'eau sous ses multiples formes, volcans, ciels, toits, Rome et la Campagne romaine, Capri. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

"I think it’s ok to be in a space of feeling lost at points in your life. That’s actually a great place to be." Two years on from our first interview, Episode 18 (https://www.austinarttalk.com/18), which I highly recommend listening to before you proceed with this one, I recently had the privilege of a tour of the new home and art studio of Roi James (https://roijames.com/). It was great to have the chance to further the dialogue and talk more about Roi’s successful career, where he finds himself now, and where he might be headed. And just like in our first conversation there is no lack of vulnerably on Roi’s part, as he shares his thoughts about being in an in-between place, recuperating and settling into the rhythms of his new space, finding inspiration, and contemplating the necessity to take his whole life and artwork to the next level. We also notably discuss the likely reasons for his success, pricing artwork, portraiture, art market challenges, and we go a little more in depth about loving more deeply and how that manifests in his life. https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/mKfm-Hy_.jpg Portrait of Roi on the roof of is new home. Photo by Scott David Gordon Bio courtesy of Roi's website The Story Of My Work I was 28 when I realized I wanted to become a painter. Until then and to this day, I had never studied art nor had any formal training. I’d always had the “gift” and recall my kindergarten teacher showing my mother my drawings and expressing how advanced they were for my age. But art was not a realistic occupation as I’d been indoctrinated into the “tragic artist” mythology, that to become one was to lead a sad and ultimately unfortunate life. So quite by accident, at 28, I attended a life drawing class and within the first 30 seconds of the first drawing, in the most supernatural way, I was was transformed. It would be another seven years before I had my first gallery show. Between then I poured over books of the techniques of the old masters and immersed myself in tens of thousands of images, slowly developing a rich visual vocabulary. I became enamored with the painters Titian, Vermeer, Caravaggio, Rembrandt, among others and with the romantic landscapes of Claude Lorrain, J.M.W. Turner, and Caspar David Friedrich. It was the majestic beauty and drama in these artist’s paintings and the long tradition of disciplined study and technique that attracted and inspired me. It would become the holy grail of what I would hope to find in my own work. And so my early paintings were infused with the dramatic play of light on human bodies and landscapes. I achieved a degree of success with this early work which in 1998, allowed me to quit my full-time job as a graphic designer at Dell Computer and focus entirely on painting. Though I continued to work in the traditional style of layered glazing in oils, I was already feeling a pull away from convention and a desire to explore painting’s greater possibilities. Where it had been a hunger for tradition and discipline that established my foundation, I was now compelled by a meditative thoughtfulness in being present and a desire to release myself into the uncertain world of abstract and conceptual painting. This began a ten year transition away from one style and method and into the new. However, my interest in form and beauty never wavered. Even the method of applying layered glazes continued to instruct my new work, though from a very unique and self invented process. My new paintings are spontaneous and abandoned Meditations, appearing as quiet spaces or joyful dances on the canvas. My Constructs are architectural explorations of color and surface, simultaneously both painting and sculptural relief. Fundamentally, despite their dissimilar surfaces and the contrast to my earlier romantic period, this new work remains true to my commitment to beauty and form. https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/-V7sJDZe.jpg Architectura 01.14.20, 2020 Oil on Panel 30 x 30 in Current/Recent Exhibitions Spectrum New Work by Roi James JANUARY 18th - FEBRUARY 22nd, 2020 Davis Gallery (https://www.davisgalleryaustin.com/) 837 West 12th Street Austin, TX 78701 512-477-4929 Davis Gallery is proud to announce Spectrum, Roi James' first solo exhibit in Austin in nearly a decade. In this new collection, James presents works ranging from brilliant, undulating polychrome constructs, to delicate oil paintings contemplating the expanses of the open sea. Over the course of his career, James has boldly shifted his artistic vision, reinventing himself many times over and enjoying consistent success along the way. His mastery of several mediums and styles has attracted national attention and local fame. Spectrum, represents his latest triumphs, and delivers a complete series of diverse, significant work. This exhibit will be on view from January 18th through February 22nd, 2020. https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/bKQpRDOh.jpg I Am Forever -framed, oil on canvas 35.25 x 27.25 in. Not for Sale Some of the subjects we discuss: The last two years Getting used to new space Arriving and landing Confronting voices Parasite movie Not one or the other Talent from the start Marketable work Driven to learn and grow Getting help Selling work Leaving a gallery Changing landscape Connecting in new ways Democratizing art New collectors How to price work Current prices Spectrum at Davis Portraiture Self portraits Fonda San Miguel Working in new space Feeling lost Feeling empowered Unsure about interview Thinking about cancer Loving more deeply Creating moments To the next level Getting rid of things Different choices The gift of song Violon D"ingres https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/EMMgl6Zo.jpg Roi looking at the view from his new studio. Photo by Scott David Gordon https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/INa_DBQA.jpg Roi looking at the view from his new studio. Photo by Scott David Gordon Contact Roi https://roijames.com/ (https://roijames.com/) rjstudio@roijames.com This interview has been edited and condensed for clarity. Intro music generously provided by Stan Killian (http://stankillian.com/main/) Support this podcast. (http://www.austinarttalk.com/supportpodcast)

Bendor Grosvenor is a British art dealer, art historian and writer. He is known for discovering a number of important lost works by Old Master artists, including Sir Peter Paul Rubens, Claude Lorrain and Peter Brueghel the Younger. The Equestrian Portrait of Charles I (also known as Charles I on Horseback) is an oil painting on canvas by Anthony van Dyck, showing Charles I on horseback. Charles I had become King of Great Britain and Ireland in 1625 on the death of his father James I, and Van Dyck became the Charles' Principal Painter in Ordinary in 1632. The portrait is thought to have been painted in about 1637–38, only a few years before the English Civil War broke out in 1642. It is one of many portraits of Charles by Van Dyck, including several equestrian portraits. It is held by the National Gallery, London. View this episode's image

Richard T Scott is a painter, writer, and coin designer for the United States Mint living in the Hudson Valley. His paintings are in museum collections in North America and Europe. One of his coin designs commemorating Fort Moultrie will be on the new quarter released into circulation this November.  Richard is represented by Paul Booth Gallery in New York City and Galerie L'Oeil du Prince in Paris. Full shownotes: http://yourcreativepush.com/richardtscott In this episode, Richard discusses: -How he got involved with the United States Mint and his first quarter that is going to be minted of Fort Moultrie. -How paintings do not stand the test of time, but coins and sculptures do. -An important lesson he learned from his friend in high school about the difference between natural talent and hard work. -How JMW Turner was inspired by Claude Lorrain. -Things that have held him back during his art career, such as financial strain and crippling doubt. -The cloud that hung over his head for a long time, where he didn’t believe he could actually be successful as a professional artist, despite his drive to be the best painter he could be. -The powerful idea of collaborative competition, and the way that he uses it with Adam Miller. -A powerful story about the chance he took in reaching out to Odd Nerdrum and the journey that it took him on. -One of his best moments, happening at the moment, having a piece accepted into the Georgia Museum of Art. -What art and creativity brings to his life. -Why Rembrandt is one of his greatest influences. -Some of the things he has coming up at this very exciting time in his career. Richard's Final Push will inspire you to go for your dreams… all you need is persistence, passion, and honesty.   Quotes: “2000 years from now, it might be the case that none of my paintings will be around, but these coins will.” “This idea that you’re born with genius or talent and that’s what defines whether or not you succeed at something… I don’t think that’s true.  I think it’s about your passion.” “Even though I’ve always been driven to be the best painter I could be, I never believed that I could actually be successful at it.” “What I keep telling myself is to be optimistic, to be realistic, and to be honest with myself about my strengths and especially my weaknesses.” “I would rather win a silver medal knowing that I had reached my greatest potential instead of winning a gold medal when my competition hadn’t even reached theirs.” “So I had gone from thinking I had cancer, my marriage is falling apart, feeding myself out of a garden, foraging, and having ten cents to my name… and suddenly I had sold eleven paintings within two weeks.” “At any moment, anything can happen that might seem so incredibly small.  And if you’re there and you’re ready and you’re prepared and you’re on your game, it could turn into something that you can’t even imagine. “For me, art is the way that I understand the world.  It’s the way that I digest life.” Links mentioned: TED Talk with Theo Jansen "Fourth Wall" at Paul Booth Gallery Connect with Richard: Website / Facebook / Instagram / Twitter

Turner looks to Claude Lorrain, the great artistic model of seventeenth-century Classical landscape painting, for his composition of Crossing the brook. Devices include framing trees to left and right, while Turner also uses light to lead the eye through a curving central valley until it meets a limpid white sky, which dissipates upwards into palest blue. Dark planes intersect in the foreground across the front of the water, down through the foliage and tunnel path on the right. A spotlight picks out three figures who ford the brook: one girl has waded across, then looks back to her dog in midstream. The animal helps by carrying her basket, while another young woman prepares on the far bank by removing her shoes and tucking up her dress. Further along the valley are an aqueduct and large waterwheel. We are not in the Roman campagna, however, but rather in an equivocal English Arcadia. The brook leads into the River Tamar, which divides Devon from Cornwall, while the arches belong to Calstock Bridge. The wheel drives water for a clay pit: this is modern Britain at the end of the Napoleonic wars. War with France has lasted more than twenty years; Britain is all but bankrupt, and appears to be on the verge of revolution. Turner, always a history painter, manages to meld a Classical manner with a contemporary subject. Rural England now includes industry and urbanisation, implying a new vision of beauty. Between 1811 and 1814 Turner made three journeys into the West Country. These were extended summer tours, primarily to make watercolours for an engraving commission, Picturesque views of the south coast of England, which was published in sixteen parts from 1814 to 1826. In his last trip in 1814 Turner ‘sketched around the River Tamar, making studies of the river valley at Gunnislake and Calstock’.1 The artist exhibited two large oils, Crossing the brook and Dido building Carthage, at the Royal Academy in 1815. Despite the different scale of ambition that seems to mark their titles and subjects, an idyllic English scene could also be a grand history painting, to be shown at the season which marked Britain’s final victory over Napoleon. The large vertical landscape was well received, and praised by most. Not everyone liked it, however: Sir George Beaumont, the artist’s enemy, characterised it as ‘weak and like the work of an Old man, one who had no longer saw or felt colour properly; it was all of peagreen insipidity’.2Contemporary viewers may disagree with his sour verdict. Crossing the brook is a masterpiece of nineteenth-century landscape, which encapsulates local and national views of ideal Classical painting. It presents these views in a grand yet succinct form. In 1815 Turner summed up the hopes of a war-weary Britain in this naturalised Claudean landscape of observed incident and eternal pleasure. Christine Dixon 1 James Hamilton, Turner: a life, London: Hodder and Stoughton, 1997 p. 168. 2 Kathryn Cave (ed.), The diary of Joseph Farington: volume XIII – January 1814 – December 1815, New Haven: Yale University Press, 1984, p. 4638, quoted in David Blayney Brown, The art of J. M. W. Turner, Secaucus: Wellfleet Press, 1990, p. 128.

Palmer’s landscapes are among the major achievements of the British genre in the first half of the nineteenth century. Though he was admired especially for his early intensely visionary landscapes, Palmer’s later work is more conventional, showing greater concern both for naturalism and looking to the acknowledged seventeenth-century masters of landscape painting. In Summer storm near Pulborough, Sussex black clouds have gathered, the wind has risen and driving rain is already falling, though there is a glimpse of distant sunshine. In the foreground a herdsman gestures to prevent his sheep stampeding off the road; his wife follows carrying a child on her back and beside her is an unhappy yet faithful dog. To the left, near a steadfast windmill and a ruined church, women scurry to retrieve their washing. At the edge of the darkness a horse-drawn wagon and a rider stoically proceed towards a farmhouse visible beyond the mill. Within the darkness, sunlight illuminates the travellers, the roadside stream and bridge. The streaming skirts of the woman, the flapping washing, flitting birds, waving trees and mounting clouds emphasise the force of wind and rain. In this way the artist builds and weaves tension and drama into his landscape. Palmer’s low-lying composition with its domineering clouds owes much to seventeenth-century Dutch Realism, which was a growing influence in the development of British landscape in the first half of the nineteenth century. Turner, Glover and Palmer himself, all of them loyal to the Italian landscape tradition, also relied on Dutch models for naturalistic depiction of weather. In its naturalism and weather effects, however, Palmer’s painting also owes much to Constable’s realism. Summer storm near Pulborough, Sussex is not only a study of weather. It is has religious resonances, pilgrims with their flock of sheep, possibly heading into a deluge. Palmer began his training in watercolour painting at the age of thirteen. While still in his teens, he met the landscape and portrait painter Linnell who introduced him to the prints of Albrecht Dürer and Lucas van Leyden and, in 1824, to the ageing visionary William Blake. Palmer was deeply religious and he began to paint small, almost biblical, dreams of a pastoral paradise. He became the leader of a group of young artists known as the ‘The Ancients’ who were devoted to the Blake’s work.1Palmer, even more than his fellow Ancients, deliberately turned his back on nineteenth-century progress. In 1837 Palmer married Linnell’s daughter Hannah and the couple embarked on what was to become a very influential two-year stay in Italy, where the artist fell under the spell of the past Roman landscape painters Gaspard Dughet, Nicolas Poussin, Salvator Rosa and, above all, Claude Lorrain. The influence of those masters, and of Italian scenery, was to remain with him for the rest of his life, filtered through the Romanticism of his great contemporary, Turner.2 Ron Radford 1 For a catalogue of works produced by Palmer and the Ancients, see Raymond Lister, Samuel Palmer and ‘The Ancients’, Cambridge: Fitzwilliam Museum & Cambridge University Press, 1984. 2 Ron Radford, Island to empire: 300 years of British art 1550–1850, Adelaide: Art Gallery of South Australia, 2005, pp. 268–71.

De Wint is widely known for his expansive vistas of flat landscape executed with a confident breadth of handling. His peaceful, open, often sunny, always optimistic and productive landscapes and rural scenes seem oblivious to, or perhaps consciously avoid, the social upheavals of his time, brought about by the Industrial Revolution. As the novelist William Thackeray wrote, ‘[One] might have called for a pot of port at seeing one of De Wint’s haymakings … everything basked lazily for him, and one wondered whether he remained torpid in winter’.1 De Wint’s works are nostalgic and romantic scenes of reaction. He produced simple watercolour sketches of Dutch-like flat landscapes, often taken around Lincoln in south-eastern England. They showed grain-harvesting and haymaking, or conventionally imposing views that included such institutional subjects as cathedrals, county houses and castles. De Wint painted the subject of Kenilworth Castle many times. This is a large exhibition watercolour, the biggest and most highly worked of his known versions of Kenilworth Castle. The castle, in the midland county of Warwickshire, has romantic historical associations from early Norman to Elizabethan times, when it became the seat of Robert Dudley, Earl of Leicester, Queen Elizabeth I’s favourite, who entertained her lavishly. It was immortalised in Walter Scott’s popular novel Kenilworth, first published in 1821, only a few years before De Wint painted this watercolour. A visitors’ guide to the castle published in the 1820s says, ‘… as we tread the ground so much famed in history as Kenilworth, the mind is naturally affected with a pleasing pensive melancholy’.2 This is the mood evoked by the artist. John Clare, poet of the natural world and a friend of De Wint’s, wrote in his ‘Essay on landscape’: ‘The only artist that produces real English scenery in which British landscapes are seen and felt upon paper with all their poetry and exillerating [sic.] expression of beauty about them is De Wint’. The balanced composition and careful rendering follows the spirit and grand style of Claude Lorrain who painted in Rome nearly two hundred years earlier. The middle-distant medieval ruins, like Claude’s Roman ruins, are silhouetted against a sky radiating with the warm glow of a setting sun. This magical Claudean light is reflected up from foreground water, and it backlights the classically balanced framing foliage. By capturing the golden light De Wint transforms the subject from mere topography into a landscape of poetry, evoking the passage of time. In doing so he is stylistically linked to his great contemporary Turner, as is amply demonstrated in his Romantic castle of similar date, Alnwick Castle c. 1829, and earlier golden Scarborough town and castle: morning: boys catching crabs c. 1810. Ron Radford Adapted from Ron Radford, Island to empire: 300 years of British art 1550–1850, Adelaide: Art Gallery of South Australia, 2005, pp. 245–6. 1 W.M. Thackeray, Critical papers in art London, 1911, p. 269. 2 F. Smith, An historical and descriptive guide to Leamington Spa with an account of Warwick and Kenilworth London, first published 1820s, reprinted in 1831, n.p.

When Glover arrived in Hobart in 1831, the thirty-year conflict between the Tasmanian Aborigines and the European settlers was nearing an end. During this time George Augustus Robinson – the appointed Protector of Aborigines – had been relocating the majority of two hundred Indigenous people to Flinders Island. Only two months before he left Hobart for his new property of Patterdale in northern Tasmania, Glover made two group portraits showing twenty-six members of the Big River and Oyster Bay Aboriginal tribes before their transfer to Flinders Island. They became the subject of a number of significant paintings. Painted in 1832, the year of his move to Patterdale, A corrobery of natives in Mills Plains is Glover’s finest and probably earliest Aboriginal subject. Although the artist’s sketchbook contains a corroboree drawing for this landscape, he could not possibly have seen such an event on his property. As there were probably no Aborigines left in the area and certainly not enough to engage in a corroboree, the gathering is painted from his memory as well as his Hobart sketches. Of the artist’s numerous Aboriginal landscapes this is his first and his most moving and haunting, with its revelations of Glover’s sympathy for the departed Tasmanian Aborigines. Here he depicts an imagined re-creation of a corroboree within a romantic setting. The giant native tree, silhouetted against the sky, is bent and dying as the sun sinks, and so becomes a metaphor for the fate of the ancient race. Eight dancing and standing men holding spears, five seated women, two children and what appears to be an infant are gathered beneath the towering eucalypt. Dwarfed beneath the gum they appear almost to be ghosts of a former civilisation. Although Glover has taken possession of the land, it is not without some sense of guilt. And certainly, the theme of dispossession haunted Glover for the rest of his life as he re-created at least twenty such landscapes with Aborigines. Glover’s Patterdale paintings are ultimately based on the landscape devices of Claude Lorrain, Gaspard Dughet and, particularly, Jacob van Ruisdael. But in A corrobery of natives in Mills Plains the mysterious and ominous mood of the painting emulates the wildly romantic landscapes of Salvator Rosa and his depictions of wind-blasted trees and banditti (Italian outlaws). Finally the dusky and lurid sky echoes the highly romantic evening landscapes of Glover’s fellow countryman Joseph Wright of Derby. Though this is probably the first oil painting depicting Tasmanian Aborigines, Glover’s artistic forerunners in New South Wales had already painted night corroborees. Given the demise of the eighteenth-century concept of the ‘noble savage’ – which presented native people in light-filled arcadian paradises – it is not surprising that these images placed Indigenous peoples in a more ominous night light. Dances and ceremonies were presented as curious and heathenish while Indigenous people were represented as something to be feared and civilised by Christianity. Even so, the European settler’s envy is also expressed at their apparently happy and non-materialistic life. A corrobery of natives in Mills Plains can be seen as Glover’s valediction to a dying race. Traditions of European landscape art, romantic notions of the noble savage and his own Christian confidence in the face of paganism, enrich his melancholy testimony to the passing of a lively Aboriginal civilisation. Ron Radford Adapted from Ron Radford and Jane Hylton, Australian colonial art: 1800–1900, Adelaide: Art Gallery of South Australia, 1995, pp. 68–70.

Throughout his working life Constable copied the work of other artists, doing so both as quick sketches and in facsimile. He copied artists as diverse as Cozens, Cuyp, Reynolds, Rubens, Titian, Willem van de Velde the younger and Richard Wilson. But the artists he copied most frequently were Claude Lorrain and the seventeenth-century Dutch landscape artist Jacob van Ruisdael (1628/9–1682). In this drawing, which is an almost exact copy of Ruisdael’s etching The wheatfield 1648, Constable showed his understanding of Ruisdael’s technique and vision. He reproduced details of the etching such as the uppermost twigs of the front tree. He also faithfully imitated Ruisdael’s signature and feigned the plate mark, which led Ian Fleming-Williams to suggest that Constable, rather than just showing off his technical ability, may also have been making ‘an elaborate leg-pull’ (Fleming-Williams 1976, p. 64). Constable frequently mentioned Ruisdael in correspondence with his friend John Fisher; on 28 November 1826 he wrote enthusiastically about another work by Ruisdael: ‘I have seen an affecting picture this morning, by Ruisdael. It haunts my mind and clings to my heart – and has stood between me & you while I am now talking to you. It is a watermill, not unlike “Perne’s Mill” – a man & boy are cutting rushes in the running stream (in the “tail water”) – the whole so true clear & fresh – & as brisk as champagne’ (Beckett VI, p. 229). Constable first mentioned his interest in making a copy of a work by Ruisdael in 1797 when he wrote to J.T. Smith announcing that he planned to copy one of Ruisdael’s etchings, and asking Smith to send him one which was not too scarce or expensive. His last copy, Landscape with windmills, after Jacob van Ruisdael, which Constable painted in 1832, was of a Ruisdael painting now in the Dulwich Collection (Fleming-Williams 1976, p. 64).

Throughout his life Constable was devoted to the work of Claude Lorrain (1604/5–1682) – from around 1800, when he first admired the paintings by Claude in Sir George Beaumont’s collection (Beckett II, p. 24), to June 1836, a year before his death, when he praised ‘the inimitable Claude’ in a lecture he presented to the Royal Institution. He described him as ‘the most perfect landscape painter the world ever saw’, and declared that in Claude’s landscape ‘all is lovely – all amiable – all is amenity and repose; the calm sunshine of the heart’ (Beckett, Discourses, pp. 52–53). In Landscape with goatherd and goats, after Claude Constable painted a faithful copy of one of Claude’s paintings in Beaumont’s collection. He made the copy slightly larger than the original, but conveyed the spirit of Claude’s original – following it closely in composition and colouring. However Constable adopted a personal approach, as Ursula Hoff has noted, when using impasto to paint the waterfall and in his use of tonal contrast and his texture of paint (U. Hoff, ‘A Constable landscape after Claude’, Art Gallery of New South Wales Quarterly, July 1962, p. 112). Constable’s early admiration for the Claude painting was noted in Joseph Farington’s diary, where he recorded that, in around 1800, after studying the painting at Beaumont’s London house, Constable had spoken of his enthusiasm for the work, which he referred to at different times as ‘the little wood scene’ and ‘the little Grove’: ‘[he] prefers the little wood scene of Claude to all others’ (Farington, Diary IV, p. 1527). On 19 October 1823 Constable expressed his intention to make this copy during his stay at Beaumont’s country house, Coleorton, in Leicestershire, writing to John Fisher: ‘If I can find time to copy the little Grove, by Claude Lorraine (evidently a study from nature), it will much help me’ (Beckett VI, p. 139). On 2 November he had begun the painting and wrote again to Fisher: I have likewise begun the little Grove by Claude – a noon day scene – which ‘warms and cheers but which does not inflame or irritate’ … [It] diffuses a life & breezy freshness into the recess of trees which make it enchanting (ibid., pp. 142–43). On 5 November he mentioned the painting again when he wrote to his wife Maria: I have a little Claude in hand, a grove scene of great beauty and I wish to make a nice copy from it to be usefull to me as long as I live. It contains almost all that I wish to do in landscape’ (Beckett II, p. 295) And on 26 November he wrote: ‘My … little copy of Claude is only done this morning & it is beautifull & all wet so that I could hardly bring it with me’ (ibid., p. 305). Constable regarded his copies of Claude’s work as ‘great delights’ that brought him closer to Claude. He saw them as lasting remembrances from which he could ‘drink at again & again’ (Beckett VI, pp. 71 and 142). Sir George Beaumont gave Claude’s original painting, Landscape with a goatherd and goats c.1636, to the National Gallery, London, in 1826.

This was Constable’s last major painting of the Stour Valley, his definitive treatment of a favourite subject, which summed up his personal affection for the place and his lifelong devotion to the example of Claude Lorrain. A relaxing holiday in Suffolk in the autumn of 1827 with his two eldest children had refreshed his associations with the area and may have motivated him to begin painting this work. On 11 June 1828 he wrote to John Fisher that he had ‘Painted a large upright landscape (perhaps my best)’ (Beckett IV, p. 236). Constable depicted the Dedham Vale framed by trees, looking eastwards from Gun Hill, down along the course of the River Stour towards the sea, with the tower of Dedham Church and the village in the middle distance, and Harwich beyond. For this composition he returned to his early painting, Dedham Vale 1802 (Victoria and Albert Museum, London), intensifying the detail of the 1802 study by including the bridge across the river with the Talbooth on the right bank. He added the old stump sprouting new growth in the left foreground as a compositional invention to direct attention to the distant landscape, and as a symbol of regeneration. Constable’s inclusion of the figure of a gypsy mother nursing her child beside a fire has been criticised as a concession to the taste for the Picturesque. Charles Rhyne, however, noted that according to an ordnance survey map a well was located in this area, and that this would have made it a natural camping site for gypsies (C. Rhyne, ‘Constable’s first two six-foot landscapes’, Studies in the History of Art, vol. 24, Washington: National Gallery of Art, 1990, p. 129). Reynolds also noted that gypsies were frequently to be seen in East Anglia and that the inclusion of this detail does not infringe Constable’s rule that only actual or probable figures should appear in his landscape paintings. By including the gypsy mother and child in this painting Constable enlivened the image, with the gypsy’s red cloak providing a contrast to the green of the vegetation. Moreover, Suffolk had been affected by the agricultural depression and social unrest during the 1820s, and the gypsy may reflect the instability of rural life at this time, and Constable’s sympathy with the cause of ordinary people. In his use of a vertical format and in his composition Constable hinted at Claude’s Landscape with Hagar and the Angel 1646, a work he had admired since he first made a copy of it at Sir George Beaumont’s London house around 1800 (Beckett II, p. 24). He saw the way this scene fitted a Claudian pattern and used Claude’s method of suggesting depth through overlapping scenery. In thus paying homage to Claude, Constable also indicated that his own work was worthy of comparison with Claude’s. Leslie Parris and Ian Fleming-Williams have suggested that Beaumont’s gift of Landscape with Hagar and the Angel to the newly opened National Gallery, London, in 1826, and Beaumont’s death in 1827, may have inspired Constable to paint this work as a personal tribute to him and to their shared love of Claude Lorrain (Tate 1976, p. 152). Constable looked at landscape through the art of the past to create his own unique vision. He painted the natural detail of the location in a quite original fashion, using paint brush, palette knife and his fingers to give variety to the application of paint. He used translucent colour to give luminosity to the shadows. He created a sense of the feel of the place – the white-topped clouds suggesting summer sunshine, the flickering leaves indicating wind in the trees, and the light glistening on the ground hinting at rain that has just past. As Timothy Wilcox has observed, ‘the work that had begun in deference to Claude now appears designed to rival him, or even to surpass him’ (Liverpool and Edinburgh 2000, p. 108). The painting was well received at the Royal Academy when Constable exhibited it there in 1828 (as ‘Landscape’). The reviewer for the The Sun provided a narrative reading, observing that ‘A shower has just passed over’, and suggesting that ‘The gleaming water in the distance is inimitable’ (The Sun, 5 May 1828, cit. Ivy 1991, p. 127). Constable subsequently exhibited the painting at the British Institution in 1834 (as ‘The Stour Valley’) when one critic commented: We must consider this picture as one of the best which we remember to have seen from Mr. Constable’s pencil. It is a work of great power both of colour and light and shade, and is executed with considerable freedom and dexterity of execution (The Morning Post, 10 March 1834, cit. Ivy 1991, pp.186–87). More recently Michael Rosenthal has described this work as ‘one of Constable’s greatest paintings’ (Rosenthal 1983, p. 188).

02.11.1613 Blätterteig wird erfunden: Jeder Hobbykoch weiß, wie viel Zeit es kostet, ein kulinarisches Kunstwerk zu schaffen, und welch kurze Lebenszeit seiner Schöpfung beschieden ist. Flüchtig ist der Ruhm der Kochkunst, selbst bei großen Rezepten ist nur selten der Name des Erfinders überliefert. Umso mehr ist es unser Anliegen, einen großen Gaumenkünstler zu ehren, der zwar auf anderem Gebiet zu Weltruhm gelangte, dessen große Küchenleistung aber ganz in Vergessenheit geriet...