Stockholm (SE)

Gegründet durch Reichsverweser Birger Jarl, um 1250.

• National Museum / Nationalmuseum*: Claude Lorrain: Landscape with Rebekah Taking Leave of her Father (1640-1641). Oil on canvas.
  • Story: Genesis 24
  • LV 52
  • Grate, P. (1988): French Paintings I. Seventeenth century. Swedish National Art Museum, Stockholm. Page 10: color plate; page33-34: provenance; exhibited; bibliography; “The theme of journeying was prominent in Claude’s art about the time when he did this painting.”
  • Leiderstam, M (2009): See and seen – Seeing landscape through artistic practice. Art&Research vol.2, no.2, artandresearch.org.uk/v2n2/leiderstam.html [In preparing his dissertation, the author copied the painting. Also covered: Claude mirror and Claude glass.]
• Södra Teatern (sodrateatern.com), Cirkus Cirkör: Wear it like a crown. A performance about wearing one’s fears and failures with pride.
• City Museum / Stadtmuseum
• Stockholm School of Economics

* Zu Nationalmuseum auch: Bjurström, Per (1984): Claude Lorrain – Sketchbook. Owned by Nationalmuseum, Stockholm. Nationalmusei Skriftserie N.S.1, Stockholm. Excerpt:

• (p.5) … Sotheby’s …, 1982, auctioned a Claude lot consisting of a sketchbook and 19 loose sheets … … the sketchbook drawings … represent … a wealth of variation in technique as well as in themes. The fact that the sketchbook is largely intact was also a strong point. In this it is unfortunately unique since Liber Veritatis was split up by the British Museum in the 1970s and Norton Simon later did the same to what remained of the Wildenstein album.
• (p.6) … for the foreseeable future the sketchbook will not be available for public display. [Footnote 7, p.12: … an export ban was imposed … decided to keep the works in London …]
• (p.10) The sketchbook contains examples of almost every aspect of the art of Claude, techniques as well as themes. Drawings are to be found in black chalk …, in brown wash over black chalk … and … in pen and brown ink. The subjects comprise tree studies, buildings and landscapes as well as studies of figures and animals … Claude’s albums … two categories. One comprises the collections of composition drawings and finished large sheets … The Campagna Book …, The Tivoli Book …, the Liber Veritatis … and the Wildenstein (Odescalchi) Album. The work in these albums is some of the best by Claude. … the other category consists of the Animal Album …
• (p.10-11) Claude’s sketchbooks … Roethlisberger: “a volume constituted a priori, in which the artist filled page after page with drawings.” We now know of four sketchbooks by Claude…
• (p.13) The sketchbook leaf by leaf …
• (p.14) Claude’s very large output of drawn studies of cattle is completely dominated by oxen. As Roethlisberger points out, there is hardly a cow in Claude’s oeuvre and the same applies to bulls, which occur only when the iconography so requires, i.e. in representations of Europa and the Bull…
• (p.34) … it seems that … Claude … used this sketchbook off and on over a considerably longer period than Kitson envisages. … … seems reasonable to date our sketchbook from the mid-1640s to the mid-1650s, a very vital phase in Claudes’s artistic development.