Claude, was born Claude Gellee who was also known by his fictitious name Le Lorraine or as Claude Lorrain, in the duchy of Lorraine (from which he derived his name) in 1604 (1). He was a French artist in the seventeenth century, who spent most of his working life in Italy. He was one of the greatest masters of classical landscape paintings. It is noted that, he was the first painter to acquire a huge reputation as a landscape artist and his popularity has remained undimmed ever since. His principal teacher, an Italian painter called Agostino Tassi, taught him the basics of perspective, landscape and seascape art (2). By 1633 Claude had found his definitive landscape style and joined Rome's Accademia di San Luca. He influenced landscape painting and garden design, though his paintings and drawings, over one thousand three hundred of them.

Claude was distinguished from other artists in this period, and the reasons for that were his contributions to an ideal landscape. He achieved such an acclaim because he was very skilful with the manner in which he dealt with the light. He could superbly show brilliant light and tones in his paintings, as he learnt to represent

3. C McHugh, Western Art 1600 - 1800. p.14

Richard Wilson, inspired by Claude's work decided to visit Rome and painted various Italian landscapes. He achieved a pure classicism, which depended on the austere beauty of the design and enlightens it with the glow of the light mainly displayed by Claude (11). Another disciple was Joseph Mallord William Turner who also visited Rome and like Richard Wilson, painted landscapes. Turner's bequest at his death was that two of Claude's paintings be hung in the National Gallery, London, beside two of his own works. This was a fine example of the esteem held for this master. It is clearly evident that Turner's painting 'Rocky Bay with Figures, was influenced by Claude and furthermore, he learnt how to master the light through Claude's absolute genius (12). Breaking new ground in landscape painting has placed Claude as a benchmark in art history.

In the second phase, which began after 1640, his paintings became more tranquil, bathed in a warm even light. Their subject matter is drawn from classical or biblical information, as shown in the painting below. The Marriage of Isaac and Rebekah ('The Mill) is a generalised Arcadian scene (9). In this landscape, the emphasis is on the late afternoon light and it is the softness and richness in the colour that influence the complete picture. There are colours, browns and greens in the foreground, trees either side of the painting, which incidentally, he used to frame the action, peasant people enjoying themselves, groups of families either resting, dancing or playing. There is a modern working mill house on the left-hand side suggesting working life at that time. Also in the picture is a city mainly silhouetted in the background showing the remaining ancient ruins the Romans left behind. Two thirds of the way up the painting there is the riverside. The painting has a biblical title and all of these attributes combined are stereotypical of his work, giving the composition an overall balance.

Some common words found in the essay are:
Isaac Rebekah, San Luca, Greece Rome, Apollo Pan, Saint Ursula, France Italy, Museum London, Richard Wilson, Claude Lorrain, Claude Arcadian, painted idealised, claude's paintings, painting below, contributions ideal landscape, ancient gods, 'golden mean', landscape painting, idealised scenes, western art, painting depth, characteristically sun painting, painted idealised scenes, sun painting depth, seventeenth century,
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Approximate Pages = 8 (250 words per page double spaced)