Another optical device of the time, the Claude Glasses, were round, tinted glass discs with a diameter of approximately 2.5 cm (1 inch), mounted like magnifying glasses, in sets of 3 to 8 discs mounted on the arms of a fan-shaped protective frame and usually made of horn. 29 When showing my Claude Glasses to my 92-year-old grandmother, she told me that she once saw the filters as a girl, in a chest of drawers in her parental home, but no one could tell her what they were used for when she asked, and here too the skill is gone.
In the past it was considered that the landscape should be transformed so as to resemble the paintings of the master, Claude. The light golden-brown glass, for example, gave an illusion of dawn light; the dark pink-brown glass created twilight; and the blue one produced a picture of a landscape apparently illuminated by the moon, or a snowy landscape. William Gilpin says in 1776 of his Claude Glasses: “The only picturesque glasses are those, which the artists call Claud Loraine glasses. They are combined of two or three different colors; and if the hues are well sorted, they give the object of nature a soft mellow tinge, like the coloring of that master.” 30 According to Deborah Jean Warner, literary references of the time suggested that these filters were widely known. She quotes from a British play from 1798, where the heroine, viewing a landscape through her gold-tinted glass, cries out, “How gorgeous glowing!”, through a dark glass, “How gloomily glaring”, and finally through a blue glass, “How frigidly frozen!” 31 This, to my contemporary ears, seems somewhat silly. However, it shows that Claude Glasses were mainly used as conversation pieces that enabled an alternative interpretation of the surroundings, being an instrument made to show something else, similar to the distorting mirror, in front of which we act, fully aware that what is being reflected are our bodies – still we remain fascinated with its distortion.
;)
;)
29 Arnaud Maillet, The Claude Glass Use and Meaning of the Black Mirror in Western Art, Zone Books, New York, 2004, p. 32.
3029 Ibid., Maillet’s footnote: ”William Gilpin, Observations, Relative Chiefly to Picturesque Beauty, Made in the Year 1776, on Several Parts of Great Britain; Particularly the Highlands of Scotland, 2 vols. (London: Blamire 1789), vol. 1, p. 124.”
31 Deborah Jean Warner, "The landscape mirror and glass", where she quotes from Norman Nicolson, The Lakers, London, 1955, pp. 110-111.
Åsberg, Stig
Page: 20(a.)
after-image
Page: 5, 5(a.), 26, 32, 34, 40, 48, 49, 55, 56
Akerman, Chantal
Page: 3, 3(a.), 57(a.)
Alberti, Leon Battista
Page: 27
Angelo Giorgio, Cardinal
Page: 19, 19(a.)
Armitage, John
Page: 51(a.)
Art Institute of Chicago
Page: 32
Arvidsson, Kristoffer
Page: 35(a.)
Ashburton, Lord
Page: 19(a.)
Bätschmann, Oskar
Page: 33(a.)
Bal, Mieke
Page: 8(a.)
Barton, Judy (character in Vertigo by Alfred Hitchcock)
Page: 30
Baudelaire, Charles
Page: 44
beat, the
Page: 44
Beckett, Samuel
Page: 39
Bellini, workshop of Giovanni
Page: 28
Bierstadt, Albert
Page: 17
Bjurström, Per
Page: 19, 19(a.), 33, 57, 57(a.)
Blaugrund, Annette
Page: 17(a.)
Bonaparte, Lucien
Page: 19(a.), 41(a.)
Bosch, Hieronymous
Page: 40
Brealey, John
Page: 19, 19(a.)
British Museum, London
Page: 22, 22(a.)
Brooklyn Museum of Art, New York
Page: 45
Bryson, Norman
Page: 2, 2(a.), 8, 8(a.), 27(a.), 44(a.)
Butler, Judith
Page: 48, 48(a.), 49
Calaresu, Melissa
Page: 9(a.)
Calefato, Patrizia
Page: 43, 43(a.)
Cavalli-Björkman, Görel
Page: 19(a.)
Cederström, Gustaf
Page: 46, 46(a.)
Certeau, Michel de
Page: 53
Cézanne, Paul
Page: 39
Church, Fredric Edwin
Page: 17, 17(a.)
Claude Glasses
Page: 5, 12, 18, 51, 54
Claude Lorrain Mirror
Page: 10
Claude Mirror
Page: 5, 10, 11, 18
Claudian
Page: 11, 14, 14(a.), 15, 17, 41, 41(a.), 53, 56
Claudian gaze
Page: 17
Claudian light
Page: 14
Claudian model
Page: 14, 14(a.), 15, 41(a.)
Cohen, Ernst
Page: 8(a.)
Constable, John
Page: 25(a.), 41(a.)
copy
Page: 4, 4(a.), 5, 5(a.), 20, 22, 25, 26, 30(a.), 31, 32, 32(a.), 34, 38, 40, 41, 41(a.), 42, 42(a.), 44, 48, 51, 55, 57
copying, act of -
Page: 31, 51
copyist
Page: 26, 32, 34, 40, 41, 42, 44
Courbet, Gustave
Page: 34(a.)
Crary, Jonathan
Page: 13, 13(a.)
cruising
Page: 8, 35, 35(a.), 44, 44(a.), 49
Dahlbäck, Bengt
Page: 20(a.)
Degas, Edgar
Page: 44
Dercon, Chris
Page: 51(a.)
Düsseldorf School
Page: 15
Dughet, Gaspard
Page: 27
Dunwell, Frances F.
Page: 16(a.), 17(a.)
El Greco
Page: 2
Elster, Madeleine (character in Vertigo by Alfred Hitchcock)
Page: 30, 31, 34, 38, 44
Fabiani, Bardo
Page: 43(a.)
Fahlcrantz, Carl Johan
Page: 14, 15
Ferguson, John "Scottie" (character in Vertigo by Alfred Hitchcock)
Page: 30, 31
Ferrier, Maïten de
Page: 32
Field, Cyrus
Page: 17(a.)
framing
Page: 7, 33, 35, 51, 54
Fraser, Andrea
Page: 40(a.)
Fredlund, Björn
Page: 8(a.), 19(a.)
Fried, Michael
Page: 28(a.)
Göteborgs Konstmuseum, Gothenburg
Page: 8(a.), 19, 19(a.), 46, 46(a.)
Galleria degli Uffizi, Florence
Page: 24
Gallerie Brunner, Paris
Page: 19(a.)
Gardner, Jack
Page: 29(a.)
gay
Page: 8, 35, 35(a.), 44, 45, 46, 47, 48, 48(a.)
gaze
Page: 4, 5(a.), 8, 9, 13, 17, 20, 23, 24, 26, 27(a.), 28, 29, 30, 31, 34, 35, 36, 42, 44, 44(a.), 45, 47, 48, 49, 50, 52, 54
gender
Page: 30, 43, 48(a.), 49
Georgel, Chantal
Page: 24(a.)
Gilpin, William
Page: 9, 9(a.), 12, 12(a.), 16, 16(a.)
Giori, Cardinale
Page: 22
Goldfarb, Hilliard T.
Page: 28(a.), 29(a.)
Gombrich, Ernst Hans
Page: 25(a.), 48(a.)
Gordon, Douglas
Page: 30(a.)
Grünewald, Matthias
Page: 2
Grammel, Sören
Page: 30(a.)
Granath, Olle
Page: 4(a.)
Grand Tour
Page: 9, 14, 32, 35(a.)
Grate, Pontus
Page: 37(a.), 41(a.)
Gray Mirror
Page: 10
Great Chain Overlook, The
Page: 5
grid
Page: 24, 25, 25(a.), 26, 37, 38, 44, 46, 47, 49
Guerrilla Girls
Page: 40(a.)
Gustaf Adolf VI of Sweden, King
Page: 18
Hansen, Constantin
Page: 8(a.)
Harriss, Joseph A.
Page: 32(a.), 40(a.)
Hedén, Karl-Gustaf
Page: 8(a.), 19, 19(a.)
Herrmann, Bernard
Page: 30(a.)
Hidaka, Ritsuko
Page: 24, 24(a.)
history
Page: 1, 7, 15, 18, 19, 20(a.), 21, 24, 26,32(a.), 35, 41(a.), 44, 46, 47, 48, 55, 56
Hitchcock, Alfred
Page: 30
Hockney, David
Page: 11(a.)
Holger, Lena
Page: 46(a.)
horizon
Page: 25, 27, 35, 38(a.), 41, 52, 53, 54, 56
Hudson River Highlands
Page: 16, 16(a.), 17(a.)
Hudson River School
Page: 17, 17(a.)
Isabella Stewart Gardner Museum, Boston
Page: 28, 29(a.)
Isakson, Karl
Page: 39
Kennedy, Randy
Page: 45(a.)
Kitson, Michael
Page: 22(a.)
Købke, Christian
Page: 8(a.)
Konstantin Konstantinovich of Russia, Grand Duke
Page: 46, 46(a.)
Kopp, Céline
Page: 42(a.)
Krauss, Rosalind
Page: 25, 25(a.)
Kulick, Don
Page: 44, 44(a.), 49
Kunstverein München, Munich
Page: 30(a.)
landscape, Arcadian -
Page: 9, 35
landscape, cultivated -
Page: 16
landscape, designed -
Page: 10
landscape, Dutch -
Page: 10
landscape, lost -
Page: 16
landscape, national -
Page: 9, 14, 15
landscape, Nordic -
Page: 15
landscape, pastoral -
Page: 21, 34, 35
landscape,pictorial
Page: 14
landscape, Roman -
Page: 11
landscape, Romantic -
Page: 52
landscape, Swedish -
Page: 14, 15
landscape painter
Page: 5, 14, 17, 19(a.)
landscape painting
Page: 1, 2, 4, 6, 8, 11, 11(a.), 14, 15, 53
Landscapes, Ideal -
Page: 9, 9(a.), 22(a.), 33(a.), 35, 40, 41(a.)
Landscapes, Imperial -
Page: 14, 14(a.)
Langdon, Helen
Page: 11(a.), 33, 33(a.), 57(a.)
Lawler, Louise
Page: 40(a.)
Lefebvre, Henri
Page: 27
Lenbach, Franz von
Page: 30(a.)
Liber Veritatis
Page: 21, 22, 22(a.)
linguistic matrix
Page: 25
Lorrain, Claude
Page: 2, 4, 4(a.), 5, 8, 8(a.), 9, 10, 11, 11(a.), 12, 12(a.), 13, 14, 15, 16, 18, 18(a.), 19, 19(a.), 20, 21, 21(a.), 22, 22(a.), 23, 25, 25(a.), 26, 27, 28, 33, 33(a.), 34, 34(a.), 35, 36, 36(a.), 38, 38(a.), 41, 41(a.), 42(a.), 51, 52, 53, 54, 55, 56, 57, 57(a.)
Louvre, Paris
Page: 24, 32, 32(a.), 40, 44, 44(a.)
Lyberg, Louise
Page: 32(a.)
Magasin 3 Stockholm Konsthall, Stockholm
Page: 35(a.)
Maillet, Arnaud
Page: 12(a.)
Malsch, Friedemann
Page: 28(a.)
Manson & Woods, London
Page: 8(a.)
Martin, Elias
Page: 14, 14(a.)
Matisse, Henri
Page: 39
memory
Page: 7, 11, 17(a.), 20, 30(a.), 31, 35(a.), 41, 41(a.), 43, 51
Merleau-Ponty, Maurice
Page: 24, 24(a.), 27, 27(a.), 39, 39(a.), 55, 55(a.)
Metropolitan Museum of Art, New York
Page: 17(a.), 24
Metz, Philip
Page: 30(a.)
mimicry
Page: 5, 6, 34, 40, 47, 49, 51
Mitchell, W.J.T.
Page: 11(a.), 14, 14(a.), 28(a.), 38(a.), 48(a.)
Moderna Museet, Stockholm
Page: 20, 40(a.)
Molvidson, Martin
Page: 46(a.)
Mulvey, Laura
Page: 30, 30(a.), 31
Musée Fesch, Ajaccio, Corsica
Page: 41, 41(a.)
museum
Page: 4, 4(a.), 5, 8,18, 19, 20, 20(a.), 23, 24, 24(a.), 25,26, 27, 28,29, 29(a.), 30, 30(a.), 31, 32, 32(a.), 33, 34, 36,38, 40, 40(a.),42, 42(a.), 43, 44, 44(a.), 45, 46, 46(a.), 47,49, 50, 51
Museum of Modern Art, New York
Page: 45, 45(a.)
National Gallery, London
Page: 24, 41(a.)
Nationalmuseum, Stockholm
Page: 4, 4(a.), 5, 8(a.), 18, 19, 19(a.), 20, 20(a.), 24, 27, 32, 32(a.), 37, 38, 41(a.), 46, 47, 48(a.), 55, 57(a.)
nature
Page: 7, 9, 12, 13, 17, 18, 24, 33, 34, 39, 43, 47, 48, 51, 57
Newman, Michael
Page: 51, 51(a.), 52, 52(a.)
New Orleans Museum of Art, New Orleans
Page: 8
Nilsson, Håkan
Page: 48, 48(a.)
Nordic Light
Page: 15
Nordqvist, Per
Page: 14
Novak, Kim (actor in Vertigo by Alfred Hitchcock)
Page: 30
original
Page: 4(a.), 5, 5(a.), 8, 14, 18(a.), 19(a.), 20, 22, 25, 25(a.), 26, 29(a.), 32, 33, 34, 39, 40, 41, 41(a.), 42, 46, 46(a.), 47, 48, 48(a.), 49
painting, historical -
Page: 6, 24, 30, 35, 41(a.)
painting, landscape
Page: 1, 2, 4, 6, 8, 11, 11(a.), 14, 15, 53
painting, lost -
Page: 26
painting, process of -
Page: 39, 57
Palazzo Riccardi, Florence
Page: 19(a.)
Pehrson, Mathias
Page: 18(a.)
perspective
Page: 11, 18, 27, 27(a.), 33, 44
Persson, Helena
Page: 8(a.)
Petterson, Åke
Page: 18(a.)
Phelan, Peggy
Page: 5, 39, 39(a.)
Phillips, Tony
Page: 27(a.)
pictures journey
Page: 8
Picturesque
Page: 5, 9, 9(a.), 10, 10(a.), 11, 11(a.), 12, 12(a.), 14, 16, 17, 18
Pollock, Jackson
Page: 48(a.)
Pordenone, Bernardino Licinio da
Page: 28(a.)
Poussin, Nicolas
Page: 9, 27, 33, 33(a.), 40(a.), 41(a.)
Prado Museum, Madrid
Page: 41(a.), 53
Röthlisberger, Marcel
Page: 8(a.), 19, 19(a.), 21, 21(a.), 22(a.), 34(a.), 35, 35(a.), 36, 36(a.), 37, 38(a.), 41, 41(a.), 42, 42(a.)
Rørbye, Martinus
Page: 8(a.)
Raphael
Page: 36
Rebekah
Page: 4(a.), 5, 15, 16, 18, 19, 19(a.), 20, 21, 22, 23, 25, 25(a.), 26, 28, 32, 33, 35, 36, 37, 37(a.), 38, 40, 41, 42, 47, 55, 57
recognition
Page: 2, 8, 28, 38, 39, 40
Rembrandt van Rijn
Page: 19(a.)
restorer
Page: 18, 19, 19(a.), 20, 21
Rossholm Lagerlöf, Margaretha
Page: 9(a.), 22(a.), 33, 33(a.), 34, 34(a.), 41(a.)
Rubens, Peter Paul
Page: 41(a.)
Sandberg, Ragnar
Page: 39, 39(a.)
Sandrart, Joachim von
Page: 36, 57
Sarto, Andrea del
Page: 30(a.)
See and Seen
Page: 1, 4, 5, 6, 9, 29(a.), 44, 47, 49, 50, 54
seeing, act of -
Page: 27, 43, 49, 54
seeing, moment of
Page: 21, 48, 54
seeing, process of -
Page: 5, 26
seeing, way of -
Page: 7, 9, 14, 18, 39, 51
shepherd
Page: 4(a.), 19(a.), 22, 33, 35, 42
Shiner, Larry
Page: 40(a.)
spectator
Page: 11, 11(a.), 13, 29, 29(a.), 30, 33, 38(a.), 41, 43, 44, 50, 53
Stewart, James (actor in Vertigo by Alfred Hitchcock))
Page: 30
Stewart Gardner, Isabella
Page: 28, 29, 29(a.), 49
Storrie, Calum
Page: 44, 44(a.)
tourist
Page: 5, 7, 9, 9(a.), 10, 13, 18, 54
translate
Page: 2(a.), 11, 19(a.), 26, 39, 46
translation
Page: 1, 18(a.), 19(a.), 27(a.), 39(a.), 55(a.), 57(a.)
Turner, J.M.W.
Page: 11
US Military Academy at West Point, New York State
Page: 5, 16, 17, 18, 54
vanishing point
Page: 11, 27, 51, 52
Vertigo
Page: 30, 30(a.), 31, 38, 44
Victoria & Albert Museum, London
Page: 43
viewer
Page: 2, 4, 5, 7, 13, 17, 18, 21, 23, 24, 24(a.), 26, 27, 28, 29, 29(a.), 30, 33, 34, 38, 40, 41(a.), 43, 44, 45, 47, 48, 49, 50, 51, 54
viewing, act of -
Page: 13
viewing, conditions of -
Page: 44
viewing, modes of -
Page: 13
viewing aids / instruments
Page: 10, 13, 48
Warner, Deborah Jean
Page: 10, 10(a.), 12, 12(a.)
Williams, Raymond
Page: 7, 7(a.), 10, 10(a.)
Wittgenstein
Page: 48(a.)
Wood, Marjorie 'Midge' (character in Vertigo by Alfred Hitchcock)
Page: 31