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CLAUDE de Lorrain: the Enchanted Landscape

2011-11-28T10:26:00.001-08:00

Ascanius © Ashmolean Museum, University of Oxford

Judgement of Paris 9th Duke of Buccleuchs Chattels Fund

Exhibition at the Ashmolean Museum. Oxford until 8th January 2012.
Of course people painted mountains and hills, trees and lakes, clouds and horizons for centuries before Claude Gellée (1604-1682) but they painted them as the background to other, more important things: usually religious or mythological subjects. In the paintings of Claude, the religious or mythological stories are still there, but the emphasis has changed. The landscape is what matters, and the figures often seem dwarfed by their surroundings, secondary details in a vast, open expanse of ideal landscape inspired by his study of the countryside around Rome. His name has become synonymous with delicate sunset effects, and romantic ruins.

This exhibition brings together thirteen of his major paintings from collections all over the world, as well as from the National Gallery in London and the Ashmolean itself, so that we can compare and appreciate them more keenly.

Psyche outside the Palace of Cupid is one of the most famous paintings in the National Gallery. The poet Keats called it The Enchanted Castle, and loved its fairy-tale atmosphere, created by the misty soft twilight out of which looms the mysterious castle, a dream-like amalgam of Renaissance palace with Romanesque fortress, overlooking a lake in a woodland glade. Psyche herself, a surprisingly robust figure, sits pensive on a rock brooding on her expulsion from the magical realm. The balustrade along the top of the castle is silhouetted delicately against the silvery sky.

A similar mysterious castle appears in the Coastal Scene with the Landing of Aeneas. It seems to be growing out of the rocks like the tall oaks surrounding it. A galleon is silhouetted dramatically against the setting sun.

Trees in Claude’s paintings are immense, colossal, towering far above the human figures and even taller than the grand colonnaded buildings he liked to depict. They dominate the composition and it is clear that in his epoch, huge trees were regarded with veneration. (A pity that the designers of Bonn Square here in Oxford did not take the same view). In Ascanius Shooting the Stag of Silvia, verdant groves, translucent in the dawn light, rise almost to touch the clouds. A round building on the hill at the left has some resemblance to the Radcliffe Camera. Abraham Expelling Hagar and Ishmael is another dawn scene, where Abraham (surprisingly housed in a Roman villa, not a tent) casts out his mistress and child. The curious cloud formation suggests an angel - or even God - hovering in the sky above to protect her.

In Landscape with Christ Appearing to Mary Magdalene, the people are even more noticeably dwarfed and almost lost in the sylvan landscape.

In Landscape with a Country Dance, peasants frolic at evening on the edge of woodland, to the music of tabors, pipes and a tambourine, and nobody shoos away the cattle. In Landscape with a Goatherd, the herdsman, seated at the foot of vast elms, pipes to his goats at evening, beside a lake on whose far shore broods a lonely ruined watch-tower.

Claude loved to paint the ruins of classical Rome that were all around him. The pure lines of the architecture provided a perfect subject for the study of light. In A Pastoral Landscape with the Ponte Molle, the graceful arches of the bridge span the calm, silvery river on the right, while on the left an immense oak tree dominates, more powerful even than the fortified tower behind it. In some cases he decided that the ruins deserved a better setting, and he transported them into an imaginary landscape more worthy of them. In A Pastoral Landscape with the Arch of Titus, (a painting that inspired Turner) the famous Roman triumphal arch is placed overlooking a stream so that its bass relief can be seen reflected in the water below. The Colosseum acquires a romantic tinge when covered in ivy and placed on a green hillside where cattle placidly graze. In The Judgement of Paris, a picturesque, ruined temple nestles in a grove on a rocky promontory. It is the sort of view that inspired countless follies and temples in the parks of English stately homes. The shepherd, Paris, sits below a vast canopy of trees surveying the goddesses who have to compete in beauty with the rosy sky and the pale blue hills.

Claude also excelled in the depiction of sea and ships. It is hard to look at A Seaport (1644) a painting of Renaissance palaces with the sea lapping on their doorsteps, without thinking of Venice. The view may be imaginary, but the lighthouse in the middle distance forcibly reminds me of the Venetian lion on its column at San Marco. The blazing sunset is quintessential Claude. In A Coast View, (1633) he depicted a working dock with stooping figures loading a vessel for freight (and a man having a slash against the wall on the right). The Marquis d’Argens claimed that Claude actually got other painters to help him with the human figures as he was not very good at them. Actually the figures in canvases like this are full of life and interest, but it is obvious that Claude’s heart was in the inspirational depiction of Nature. The ancient poets had talked about an idyllic land of Arcadia. Claude opened people’s eyes to see the Arcadia all around them.

Julia Gasper.
Source: http://www.ashmolean.org/

Founded in 1683, the Ashmolean is Britain’s first public museum and home to the University of Oxford’s world-class collections of art and archaeology.

Ashmol e a n Opens t he New Ga l le r ie s of Anc ie nt Eg ypt a nd Nubi a

2011-10-27T15:21:00.000-07:00

Ashmol e a n Opens t he New Ga l le r ie s of Anc ie nt Eg ypt a nd Nubi a
on 26 Nov embe r 2011
On Saturday 26 November 2011, the Ashmolean Museum in Oxford will open six new galleries for the collections
of Ancient Egypt and Nubia (present day Sudan). Building on the success of the Museum’s extension, which
opened in 2009, this second phase of major redevelopment redisplays the world-renowned Egyptian collections
to exhibit objects that have been in storage for decades, more than doubling the number of mummies and coffins
on display. The galleries will take visitors on a chronological journey covering more than 5000 years of human
occupation of the Nile Valley.
The £5 million project has received lead support from Lord Sainsbury’s Linbury Trust, along with the Selz
Foundation and other trusts, foundations and individuals. Rick Mather Architects have led the redesign and
redisplay of the pre-existing Egypt galleries and the extension into the restored Ruskin Gallery, previously
occupied by the Museum Shop. The contractor Beard has completed the construction work in the historic
building. New openings link the rooms, presenting the collections under the broad themes of Egypt at its Origins;
Dynastic Egypt and Nubia; Life after Death in Ancient Egypt; The Amarna ‘Revolution’; Egypt in the Age of
Empires; and Egypt meets Greece and Rome.
The Ashmolean is home to some of the finest Egyptian and Nubian collections in the country, with Predynastic and
Protodynastic material which ranks amongst the most significant in the world. With new lighting, display cases
and interpretation, the project completes the Ashmolean’s Ancient World Floor, comprising galleries that span the
world’s great ancient civilisations – from Egypt and Nubia, Prehistoric Europe, the Ancient Near East, Classical
Greece and Rome, to India, China and Japan.
“We are enormously grateful to Lord Sainsbury and the Linbury Trust for initiating this transformative project for
one of the most important and popular areas of the Museum. Rick Mather’s design for the galleries now allows us
to display material that, for reasons of conservation, has not been seen for up to half a century.”
Dr Christopher Brown CBE, Director of the Ashmolean.
Professor Andrew Hamilton, Vice-Chancellor of the University of Oxford, said, "These remarkable collections are
among the most important outside Egypt and one of the Ashmolean’s most popular attractions. With an exciting
series of new galleries, the redevelopment transforms opportunities for using the collections for teaching and
research at all levels, and the way they are enjoyed, cared for and integrated within the wider Museum.”

SPLENDOUR OF THE SEAS ENTERS NAVANTIA SHIP YARD FOR FIVE WEEK REVITALISATION

2011-10-27T15:08:00.000-07:00

London, 27 October 2011 – Royal Caribbean International’s Splendour of the Seas enters the Navantia ship yard in Cadiz (Spain) to begin a five-week long, $35 million dry dock to receive an array of new features.

Splendour of the Seas new features will include the dining venues Chops Grille, Izumi, the Boardwalk Dog House, Chef’s Table and the Park Café; the Royal Babies and Tots Nursery; a Diamond lounge for Crown and Anchor loyalty guests; a Concierge Lounge for suite guests and upgraded technology throughout. In addition, the ship will receive 124 new balconies and a host of new stateroom amenities including flat screen televisions. Other features being added include ship-wide WIFI, a digital way-finding system, electronic mustering and an outdoor cinema screen. Other enhancements to Splendour of the Seas will be announced in the coming weeks.

Upon completion of the refurbishments on 25 November 2011, Splendour of the Seas will sail transatlantic from Lisbon (Portugal) to its seasonal homeport of Sao Paulo (Santos, Brazil). From there the ship will offer a variety of South American itineraries throughout the summer season in Brazil.

Royal Caribbean International is a global cruise brand with 22 innovative ships, calling on more than 270 destinations in 72 countries across six continents. The line also offers unique cruise tour land packages in Alaska, Canada, Dubai, Europe, and Australia and New Zealand.

For additional information or to make reservations, call your travel agent, visit www.royalcaribbean.co.uk or call 0844 493 2061. Travel professionals should visit www.cruisingpower.co.uk.

Follow Royal Caribbean on Facebook at www.facebook.com/royalcaribbeanuk or on Twitter, @MyRoyalUK.

Royal Caribbean International is part of Royal Caribbean Cruises Ltd., a global cruise vacation company that also operates Celebrity Cruises, Azamara Club Cruises, Pullmantur, CDF Croisieres de France, as well as TUI Cruises through a 50 percent joint venture with TUI AG. The company owns a combined total of 40 ships and has one under construction and one under agreement.

Oxford life

2011-10-25T12:42:00.000-07:00

Oxford Life

"Celebrating all the finer things in life including food and drink, fantastic properties, events, celebrity interviews, walks and competitions."

"Oxford life is about celebrating all the finer things in life including food and drink, fantastic properties, events, celebrity interviews, walks and competitions."

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Brian Aldiss - Interview

Bjorn Lomborg

Julie Gray

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Europe’s top ten most unusual delicacies

Damson in Distress.

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PUMPKIN AND RAISIN GALETTES

A Partridge in a Pear Tree.

Halloween with Courvoisier

Greek Cookery Class

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Spatchcocked poussin

Lamb Kofte Tagine

Exciting Apples.