Claude von Humphrey Wine ist ein Titel aus dem Bereich Sachbuch, der thematisch klar positioniert ist und für Leserinnen und Leser mit Interesse an diesem Fach- oder Themengebiet besonders relevant sein kann. Der Untertitel The poetic landscape ergänzt den Haupttitel Claude sinnvoll und gibt bereits früh einen konkreten Hinweis auf die inhaltliche Ausrichtung des Buches. Inhaltlich lässt sich Claude folgendermaßen zusammenfassen: Calm, beautiful and serene . . . fleecy skies, resplendent valleys, campagnas rich with all the cheerful blush of fertilization' is how another great landscape painter, Turner, described the landscapes of the seventeenth-century artist Claude Lorrain. Claude has long been admired for his panoramic views and luminous effects of light, yet it is less often remarked that many of these landscapes represent incidents from literature - particularly the Bible and the classical poetry of Ovid and Virgil.
Claude: The Poetic Landscape looks at Claude as a painter of stories, bringing together some twenty-eight paintings and over fifty drawings to examine how important the subjects of his pictures were to the artist, and how far they determined the form of his compositions.
Most of the paintings and drawings discussed and illustrated here are from public and private collections in Britain, which are especially rich in his work.
They include the celebrated pair of Altieri Claudes from Anglesey Abbey - The Father of Psyche sacrificing to Apollo and The Arrival of Aeneas before the City of Pallanteum; several works from Holkham Hall, including the beautiful Perseus and the Origin of Coral; Ascanius shooting the Stag of Silvia from the Ashmolean Museum, Oxford, and its pair, View of Carthage with Dido and Aeneas, from the Hamburg Kunsthalle; and a large number of drawings from the British Museum.
The National Gallery's own collection of Claudes is unrivalled, and these too are examined here, among them the particularly well preserved Seaport with the Embarkation of Saint Ursula and the haunting picture known as The Enchanted Castle, which depicts an episode from the story of Cupid and Psyche.
Claude often inscribed the subjects of his pictures on the paintings themselves or on the records he made of them in his book of drawings known as the Liber Veritatis (now in the British Museum), indicating that for him and his patrons the precise story represented was of importance. In his informative and accessible account, Humphrey Wine explains that Claude's landscapes cannot be seen simply as enchanting views.
They are peopled with gods, saints and heroes, and provide an idealised setting for incidents from myth, history and the Bible, which may often have carried special associations for Claude's aristocratic patrons. The introductory essay is followed by a catalogue where all the works discussed are illustrated, grouped by subject, and accompanied by summaries of the stories on which they are based
Innerhalb von Sachbuch bietet Claude eine klar erkennbare thematische Zuordnung. Für Recherchen nach Veröffentlichungszeitraum ist Claude mit dem Datum 1994 eindeutig zuordenbar. Dass Claude in Deutsch erschienen ist, erleichtert die gezielte Auswahl für sprachspezifische Recherchen. Für alle, die Bücher von Humphrey Wine recherchieren oder vergleichen, ist Claude eine relevante Ausgabe.
Inhalt und thematische Schwerpunkte
Die Beschreibung zeigt, dass Claude klar dem Bereich Sachbuch zugeordnet werden kann: Calm, beautiful and serene . . . fleecy skies, resplendent valleys, campagnas rich with all the cheerful blush of fertilization' is how another great landscape painter, Turner, described the landscapes of the seventeenth-century artist Claude Lorrain. Claude has long been admired for his panoramic views and luminous effects of light, yet it is less often remarked that many of these landscapes represent incidents from literature - particularly the Bible and the classical poetry of Ovid and Virgil.
Claude: The Poetic Landscape looks at Claude as a painter of stories, bringing together some twenty-eight paintings and over fifty drawings to examine how important the subjects of his pictures were to the artist, and how far they determined the form of his compositions.
Most of the paintings and drawings discussed and illustrated here are from public and private collections in Britain, which are especially rich in his work.
They include the celebrated pair of Altieri Claudes from Anglesey Abbey - The Father of Psyche sacrificing to Apollo and The Arrival of Aeneas before the City of Pallanteum; several works from Holkham Hall, including the beautiful Perseus and the Origin of Coral; Ascanius shooting the Stag of Silvia from the Ashmolean Museum, Oxford, and its pair, View of Carthage with Dido and Aeneas, from the Hamburg Kunsthalle; and a large number of drawings from the British Museum.
The National Gallery's own collection of Claudes is unrivalled, and these too are examined here, among them the particularly well preserved Seaport with the Embarkation of Saint Ursula and the haunting picture known as The Enchanted Castle, which depicts an episode from the story of Cupid and Psyche.
Claude often inscribed the subjects of his pictures on the paintings themselves or on the records he made of them in his book of drawings known as the Liber Veritatis (now in the British Museum), indicating that for him and his patrons the precise story represented was of importance. In his informative and accessible account, Humphrey Wine explains that Claude's landscapes cannot be seen simply as enchanting views.
They are peopled with gods, saints and heroes, and provide an idealised setting for incidents from myth, history and the Bible, which may often have carried special associations for Claude's aristocratic patrons. The introductory essay is followed by a catalogue where all the works discussed are illustrated, grouped by subject, and accompanied by summaries of the stories on which they are based Ergänzend helfen die hinterlegten Schlagwörter dabei, Claude thematisch schneller einzuordnen: Exhibitions, Art, exhibitions, Landscape painting, Lorrain, claude, 1600-1682, Landscape painting, french Mit einem Umfang von 120 Seiten und dem Format pocket verbindet die Ausgabe inhaltliche Tiefe mit einer klar beschriebenen physischen Form.
Ausgabe, Identifikatoren und Referenzen
Die Open-Library-Zuordnung über OL3974216W und OL8998305M, OL1446667M verbessert die externe Nachvollziehbarkeit des Werkes. Sowohl die ISBN-10 1857090462 als auch die ISBN-13 9781857090468 erleichtern das Auffinden und Vergleichen dieser Ausgabe erheblich.
Internationale Standardbuchnummer (ISBN-10): 1857090462
Ausgabeform: pocket
Kurzbeschreibung: Calm, beautiful and serene . . . fleecy skies, resplendent valleys, campagnas rich with all the cheerful blush of fertilization' is how another great landscape painter, Turner, described the landscapes of the seventeenth-century artist Claude Lorrain. Claude has long been admired for his panoramic views and luminous effects of light, yet it is less often remarked that many of these landscapes represent incidents from literature - particularly the Bible and the classical poetry of Ovid and Virgil.
Claude: The Poetic Landscape looks at Claude as a painter of stories, bringing together some twenty-eight paintings and over fifty drawings to examine how important the subjects of his pictures were to the artist, and how far they determined the form of his compositions.
Most of the paintings and drawings discussed and illustrated here are from public and private collections in Britain, which are especially rich in his work.
They include the celebrated pair of Altieri Claudes from Anglesey Abbey - The Father of Psyche sacrificing to Apollo and The Arrival of Aeneas before the City of Pallanteum; several works from Holkham Hall, including the beautiful Perseus and the Origin of Coral; Ascanius shooting the Stag of Silvia from the Ashmolean Museum, Oxford, and its pair, View of Carthage with Dido and Aeneas, from the Hamburg Kunsthalle; and a large number of drawings from the British Museum.
The National Gallery's own collection of Claudes is unrivalled, and these too are examined here, among them the particularly well preserved Seaport with the Embarkation of Saint Ursula and the haunting picture known as The Enchanted Castle, which depicts an episode from the story of Cupid and Psyche.
Claude often inscribed the subjects of his pictures on the paintings themselves or on the records he made of them in his book of drawings known as the Liber Veritatis (now in the British Museum), indicating that for him and his patrons the precise story represented was of importance. In his informative and accessible account, Humphrey Wine explains that Claude's landscapes cannot be seen simply as enchanting views.
They are peopled with gods, saints and heroes, and provide an idealised setting for incidents from myth, history and the Bible, which may often have carried special associations for Claude's aristocratic patrons. The introductory essay is followed by a catalogue where all the works discussed are illustrated, grouped by subject, and accompanied by summaries of the stories on which they are based
Relevanz für Suche und Einordnung
Claude profitiert für die Auffindbarkeit besonders von der Verbindung zwischen Humphrey Wine, Sachbuch und den Tags Exhibitions, Art, exhibitions, Landscape painting, Lorrain, claude, 1600-1682, Landscape painting, french, weil dadurch eine starke semantische Einordnung entsteht. Eindeutige Referenzdaten wie 1857090462, 9781857090468 und OL3974216W verbessern die bibliografische Verlässlichkeit zusätzlich.
Wichtige Fragen zu Inhalt und Ausgabe
Wie lässt sich Claude thematisch einordnen?
Die Ausgabe wird dem Bereich Sachbuch zugeordnet und ist damit für thematisch fokussierte Recherchen gut geeignet.
Welche Inhalte beschreibt die Kurzbeschreibung?
Die vorhandene Beschreibung lautet: Calm, beautiful and serene . . . fleecy skies, resplendent valleys, campagnas rich with all the cheerful blush of fertilization' is how another great landscape painter, Turner, described the landscapes of the seventeenth-century artist Claude Lorrain. Claude has long been admired for his panoramic views and luminous effects of light, yet it is less often remarked that many of these landscapes represent incidents from literature - particularly the Bible and the classical poetry of Ovid and Virgil.
Claude: The Poetic Landscape looks at Claude as a painter of stories, bringing together some twenty-eight paintings and over fifty drawings to examine how important the subjects of his pictures were to the artist, and how far they determined the form of his compositions.
Most of the paintings and drawings discussed and illustrated here are from public and private collections in Britain, which are especially rich in his work.
They include the celebrated pair of Altieri Claudes from Anglesey Abbey - The Father of Psyche sacrificing to Apollo and The Arrival of Aeneas before the City of Pallanteum; several works from Holkham Hall, including the beautiful Perseus and the Origin of Coral; Ascanius shooting the Stag of Silvia from the Ashmolean Museum, Oxford, and its pair, View of Carthage with Dido and Aeneas, from the Hamburg Kunsthalle; and a large number of drawings from the British Museum.
The National Gallery's own collection of Claudes is unrivalled, and these too are examined here, among them the particularly well preserved Seaport with the Embarkation of Saint Ursula and the haunting picture known as The Enchanted Castle, which depicts an episode from the story of Cupid and Psyche.
Claude often inscribed the subjects of his pictures on the paintings themselves or on the records he made of them in his book of drawings known as the Liber Veritatis (now in the British Museum), indicating that for him and his patrons the precise story represented was of importance. In his informative and accessible account, Humphrey Wine explains that Claude's landscapes cannot be seen simply as enchanting views.
They are peopled with gods, saints and heroes, and provide an idealised setting for incidents from myth, history and the Bible, which may often have carried special associations for Claude's aristocratic patrons. The introductory essay is followed by a catalogue where all the works discussed are illustrated, grouped by subject, and accompanied by summaries of the stories on which they are based
Wie lässt sich das Buch sprachlich und thematisch filtern?
Über die Sprache Deutsch und die Schlagwörter Exhibitions, Art, exhibitions, Landscape painting, Lorrain, claude, 1600-1682, Landscape painting, french kann die Ausgabe gezielt in Such- und Katalogsystemen eingegrenzt werden.
Welche Open-Library-Kennungen sind vorhanden?
Vorhanden sind die Work-ID OL3974216W und die Editionsreferenzen OL8998305M, OL1446667M.
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