Landscape with a Shepherd and Shepherdess

Claude Lorrain, French, 1604 - 1682

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about 1636

Oil on canvas

Overall: 29 1/8 × 38 1/4 in. (74 × 97.2 cm)

Hood Museum of Art, Dartmouth: Purchased through gifts from Kirsten and Peter Bedford, Class of 1989P and Julia and Richard H. Rush, Class of 1937, Tuck 1938 and through the Mrs. Harvey P. Hood W'18 Fund, the Guernsey Center Moore 1904 Memorial Fund, and the Katharine T. and Merrill G. Beede 1929 Fund Purchased through gifts by exchange from Mr. Richard Andrew Aishton, Class of 1918, in memory of Mrs. Kate Aishton Mecur; Ralph Sylvester Bartlett, Class of 1889; Mrs. Frank U. Bell; Mr. and Mrs. Paul S. Cantor, Class of 1960; Mrs. Moses Dyer Carbee; Bernard Grebanier; Evelyn A. and William B. Jaffe, Class of 1964H; Ruth M. and Charles R. Lachman; Bella C. Landauer, Class of 1923P; Mr. and Mrs. Charles F. McGoughran, Class of 1920; Richard H. Mandel, Class of 1926; Earle W. Newton; Mr. and Mrs. Klaus Penzel; Anton Adloph Raven, Class of 1937H; Eleanor St. George in memory of her husband, Charles St. George; Mr. and Mrs. M. R. Schweitzer; Mr. and Mrs. John F. Steeves, Class of 1911; George C. Stoddard, Class of 1918; Howard Swift, Class of 1952; Mr. and Mrs. Jesse D. Wolff, Class of 1935; Dr. Myron Wright, Class of 1937 and through the Julia L. Whittier Fund and the William B. Jaffe and Evelyn A. Jaffe Hall Fund

P.989.21

Geography

Place Made: France, Europe

Period

1600-1800

Object Name

Painting

Research Area

Painting

Not on view

Course History

ARTH 17, Italian Renaissance Architecture: Issues and Approaches, Lauren Jacobi, Winter 2013

CLST 7, The Idea of Rome, Margaret Williamson, Spring 2012

ITAL 3, Introductory Italian III, Anna Minardi, Fall 2013

ITAL 3, Introductory Italian III, Jonathan Mullins, Fall 2013

WRIT 7, Religion and Literature: Revisioning the Invisible, Nancy Crumbine, Spring 2014

WRIT 5, Writing into the Wilderness, Nancy Crumbine, Spring 2014

WRIT 5, Writing into the Wilderness, Nancy Crumbine, Fall 2014

WRIT 5, Writing into the Wilderness, Nancy Crumbine, Fall 2014

WRIT 5, Writing Into the Wilderness, Nancy Crumbine, Winter 2015

WRIT 5, Writing Into the Wilderness, Nancy Crumbine, Winter 2015

GEOG 11, Qualitative Methods and the Research Process in Geography, Abigail Neely, Winter 2015

WRIT 5, Writing into the Wilderness: Vox Clamantis in Deserto, Nancy Crumbine, Fall 2015

WRIT 5, Writing into the Wilderness: Vox Clamantis in Deserto, Nancy Crumbine, Fall 2015

ARTH 45, Southern Baroque Art, Joy Kenseth, Winter 2016

WRIT 5, Writing into the Wilderness, Nancy Crumbine, Winter 2016

WRIT 5, Writing into the Wilderness, Nancy Crumbine, Winter 2016

Exhibition History

Antiquity in Rome from the Renaissance to the Age of Enlightenment: Selections from Dartmouth's Collections, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, July 7-September 9, 2001.

Claude Lorrain, named after the duchy in which he was born, greatly influenced landscape painting during his lifetime and well into the nineteenth century through his paintings and over thirteen hundred drawings he produced. Apparently in response to an increasing number of forgeries, Claude began preparing pen and brown ink wash drawings in the mid-1630s that recorded the pictures he sold, often annotated with information about patrons and dates. The sheets were bound together in his Liber Veritatis, or “Book of Truth” (now in the British Museum), which later served as a partial register of his paintings—an unusual instance of an artist creating his own illustrated catalogue. According to a handwritten inscription by the artist in the Liber Veritatis (LV 7), this painting was created for shipment to Paris with no mention of a specific client. While Claude made various studies from life in the countryside around Rome and Tivoli in the early 1630s and the composition includes the Temple of the Sibyl in Tivoli, the work does not depict a specific site. It has been suggested that this painting may have been a pendant for LV 6, a port harbor scene that is now lost but is known through a drawing in the artist’s “catalogue,” an enlarged copy dated 1636, and a later print. The paintings may well have been intended to contrast sunrise with sunset, urban with country, and sea with land.

Dreaming of Italy, Smith College Museum of Art, Northampton, Massachusetts, August 31-December 2, 2007.

Eric Fischls der Kunst, Im Licht von Claude Lorrain, 1983, no. 11

European Art at Dartmouth: Highlights from the Hood Museum of Art, William B. Jaffe and Evelyn A. Jaffe Hall Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, August 30, 2008-March 8, 2009.

From Altarpiece to Portrait: Assembling a European Collection, Harrington Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26, 2019-February 16, 2020.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, April 15, 2008.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, April 20, 2009-August 2013.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 4, 1990-June 22, 1997.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, November 29, 2005.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 9, 2001-July 25, 2002.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 16, 1997-April 15, 2001.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 19, 2013-present.

Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 26, 2003-February 6, 2005.

Le siecle de Richelieu, The Montreal Museum of Fine Arts, Montreal, Canada, September 19, 2002-January 5, 2003, The Wallraf-Richartz Museum (Cologne), January 31, 2003-April 20, 2003.

The Splendor of Ruins in French Landscape Painting, 1630-1800, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, March 20-June 19, 2005; Museum of Fine Arts, Houston, Texas, July 17-October 16, 2005.

Williams College Museum of Art, Williamstown, Massachusetts, March 24, 2016-June 30, 2018.

Publication History

Jane Benson Ackerman, The Hood Museum of Art: Ten Years of Making Art at Home in the Upper Valley, Upper Valley Magazine, November/December 1995, Volume 9, No. 6, Van Etten, Inc., 1995, pp. 22-29, ill. p. 29

David Murphy, "The Hood Museum of Art at Dartmouth: A Celebration of Excellence" The Dartmouth Review

Marcel Roethlisberger, Tout l'oeuvre peint de Claude Lorrain, Paris, 1986, no.52

Marcel Roethlisberger et al, Im Licht von Claude Lorrain, exhibition catalogue, Munich, 1983, no. 11, pp. 74-75

Michael Kitson, 'Further Unpublished Paintings by Claude in The Burlington Magazone, CXXII, 1980, p. 834, figs. 20 and 21.

Marcel Roethlisberger, Claude Lorrain: The Drawings, 1968, I, no. 114, p. 113; II, fig. 114 (as lost)

Michael Kitson and Marcel Roethlisberger, 'Claude Lorraine and the Liber Veritatis', in The Burlington Magazine, CI, 1959, p.23 (as lost)

T. Barton Thurber, "Survival and Revival of the Classical Tradition: Antiquity in Rome from the Baroque Era to the Age of Enlightenment." In T. Barton Thurber and Adrian W.B. Randolph, Antiquity in Rome from the Renaissance to the Age of Enlightenment: Selections from Dartmouth's Collections, Hanover, New Hampshire: Trustees of Dartmouth College, 2001, pp. 54-56, ill. p. 55, listed p.74.

Mirka Benes and Dianne Harris, Villas and Gardens in Early Modern Italy and France, New York: Cambridge University Press, 2001, p. 109, ill. p. 111, fig. 47.

Stephen D. Borys, The Splendor of Ruins in French Landscape Painting 1630-1800, Ohio: Allen Memorial Art Gallery, Oberlin College, 2005, p.88-90, 93, ill. p. 88.

T. Barton Thurber, Twenty Years of Building a Collection: The Hood Museum of Art, Apollo (Vol. 162, no. 526), December 2005, London: Apollo Magazine, 2005, pp. 46-53, ill. p.49.

T. Barton Thurber, European Art at Dartmouth: Highlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2008, pp. 44-46, ill. p.44, no. 11.

Hilliard T. Goldfarb, “Landscape with Shepherd and Shepherdess: Toward a Reading of the Dartmouth Claude Lorrain and its Implications for the Liber Veritatis,” Artibus et Historiae, no. 61 (June 2010), pp. 159-168.

John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 93, ill. plate no. 24.

Provenance

Painted for an unknown Parisian collector, 1636; collection of the Earls of Liverpool, by the early 19th century; by descent in the family; to Colnaghi Ltd, New York, New York; sold to present collection, 1989.

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