COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
TFC_.Claude.60-1-162
amicoid
TFC_.Claude.60-1-162
AMICA ID
false
AMICA Library Year:
1999
aly
1999
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Lorrain, Claude
crn
Lorrain, Claude
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Dates/Places:
1600-1682
cdt
1600-1682
Creator Dates/Places
false
Creator Name-CRT:
Claude Lorrain (Claude Gellée)
crt
Claude Lorrain (Claude Gellée)
Creator Name-CRT
false
Title:
The Sermon on the Mount
otn
The Sermon on the Mount
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1656
oct
1656
Creation Date
false
Creation Start Date:
1656
ocs
1656
Creation Start Date
false
Creation End Date:
1656
oce
1656
Creation End Date
false
Materials and Techniques:
oil on canvas (lined)
omd
oil on canvas (lined)
Materials and Techniques
false
Dimensions:
67 1/2 x 102 1/4 in. (171.4 x 259.7 cm.)
met
67 1/2 x 102 1/4 in. (171.4 x 259.7 cm.)
Dimensions
false
AMICA Contributor:
The Frick Collection
oon
The Frick Collection
AMICA Contributor
false
Owner Location:
New York, New York, USA
oop
New York, New York, USA
Owner Location
false
ID Number:
60.1.162
ooa
60.1.162
ID Number
false
Credit Line:
Purchased
ooc
Purchased
Credit Line
false
Rights:
orl
<a href="http://www.frick.org"target="_new">http://www.frick.org</a>
Rights
false
Context:
Christ, surrounded by the Twelve Apostles, is shown preaching to the multitude from the wooded summit of Mount Tabor, as described in the Gospel of Matthew (5:1 2): When he saw the crowds he went up the hill. There he took his seat, and when his disciples had gathered round him he began to address them. It was in this discourse that Jesus set forth the principles of the Christian ethic through the Beatitudes and instituted the Lord s Prayer. The crowds that Matthew described as astounded at his teaching are vividly depicted by Claude among the absorbed and gesticulating foreground figures, whose diminishing sizes enhance the dramatic spatial effects of the vast and airy landscape. The artist has compressed the geography of the Holy Land, placing on the right the distant Mount Lebanon and the Sea of Galilee with the towns of Tiberias and Nazareth on its shore and on the left the Dead Sea and the river Jordan. Executed for François Bosquet, Bishop of Montpellier, the painting later entered the collection of Alderman William Beckford at Fonthill House in Wiltshire, where it suffered minor damage in a fire that almost totally destroyed its companion picture, Queen Esther Approaching the Palace of Ahasuerus. The Sermon on the Mount was the product of preparatory drawings ranging from topographical layouts to compositional and figural studies, including one showing the central group of Christ and the Apostles in a configuration somewhat different from that of the painting (Teylers Museum, Haarlem). Upon completing the picture, the artist made a careful copy of it in theLiber Veritatis (British Museum), an album of drawings in which he recorded his paintings in chronological sequence; it was there that he noted when and for whom it had been executed. The Sermon on the Mount is unusual among Claude's landscapes both for its exceptional size and for its large central mass, but in its magical luminosity it is characteristic of his finest achievements.
cxd
Christ, surrounded by the Twelve Apostles, is shown preaching to the multitude from the wooded summit of Mount Tabor, as described in the Gospel of Matthew (5:1 2): When he saw the crowds he went up the hill. There he took his seat, and when his disciples had gathered round him he began to address them. It was in this discourse that Jesus set forth the principles of the Christian ethic through the Beatitudes and instituted the Lord s Prayer. The crowds that Matthew described as astounded at his teaching are vividly depicted by Claude among the absorbed and gesticulating foreground figures, whose diminishing sizes enhance the dramatic spatial effects of the vast and airy landscape. The artist has compressed the geography of the Holy Land, placing on the right the distant Mount Lebanon and the Sea of Galilee with the towns of Tiberias and Nazareth on its shore and on the left the Dead Sea and the river Jordan. Executed for François Bosquet, Bishop of Montpellier, the painting later entered the collection of Alderman William Beckford at Fonthill House in Wiltshire, where it suffered minor damage in a fire that almost totally destroyed its companion picture, Queen Esther Approaching the Palace of Ahasuerus. The Sermon on the Mount was the product of preparatory drawings ranging from topographical layouts to compositional and figural studies, including one showing the central group of Christ and the Apostles in a configuration somewhat different from that of the painting (Teylers Museum, Haarlem). Upon completing the picture, the artist made a careful copy of it in theLiber Veritatis (British Museum), an album of drawings in which he recorded his paintings in chronological sequence; it was there that he noted when and for whom it had been executed. The Sermon on the Mount is unusual among Claude's landscapes both for its exceptional size and for its large central mass, but in its magical luminosity it is characteristic of his finest achievements.
Context
false
Related Document Description:
New York, The Frick Collection. Art in the Frick Collection: Paintings, Sculpture, Decorative Arts [cat.]. Comp. C. Ryskamp, et al., 1996, p.74 (reproduced in color). New York, The Frick Collection. An Illustrated Catalogue. Vol.2, Paintings. [cat.]. 1968, pp.50-55, p.51 (reproduced).
rdd
New York, The Frick Collection. Art in the Frick Collection: Paintings, Sculpture, Decorative Arts [cat.]. Comp. C. Ryskamp, et al., 1996, p.74 (reproduced in color). New York, The Frick Collection. An Illustrated Catalogue. Vol.2, Paintings. [cat.]. 1968, pp.50-55, p.51 (reproduced).
Related Document Description
false
Related Image Identifier Link:
TFC_.claude.60-1-162.tif
ril
TFC_.claude.60-1-162.tif
Related Image Identifier Link
false