What I did not know when I started my project was that Claude’s pictures often related to another canvas beside it. He made his pictures in pairs, often with two different décor settings in two different lights. 115 Röthlisberger writes that “just over a hundred pictures or slightly less than half the whole oeuvre, including all important work, were made in pairs – a concept found in all Schools from the Middle Ages to the 18th Century and originating in topological thinking.” 116 The two that formed the Claudian pair were often the same size, with a horizon on the same level yet with contrasted compositions, and often a cool morning light from the painting on the left and a warm light from the painting on the right to depict evening.
There is no known pendant to Landscape with Rebekah; however, my work is involved in making a comparison with another painting, but one that is its copy, located in Musée Fesch in Ajaccio, Corsica. 117 This copy was interesting for me to research, as I see it as a witness of an earlier state in the original’s ‘life’, and in addition, the differences between the two could reveal something about the copyist/spectator of the time – the 18th century. 118 Röthlisberger writes in his book about Claude’s paintings: “Canvas, 71 x 96 cm. Good copy, corresponding exactly to the original but larger and less fine in detail.” When he writes from having seen the copy but not the original, he probably compares a memory of seeing the copy with a photograph of the “lost” original (the owner for the period between 1928-1973 was not known). 119 Röthlisberger also takes up another aspect of the relation between the original and the copy in his text in Burlington Magazine: “To relegate a painting to the status of a copy is usually more difficult when the original itself is missing. The situation, though, is common. In their collections, copies are almost invariably considered to be by the master. The reappearance of the original becomes a test case. Recently, two works of Claude have emerged, each of which had until now been known by two old copies.” 120 This is significant for me in that it shows that in the absence of the original, the copy becomes a witness of its presence in the world or can, if it is well made, ‘pretend’ to be the original. When the original arrives into the (art) world and is catalogued, proven to exist, the copy’s role will be forever changed. 121
;)
;)
115 Margaretha Rossholm Lagerlöf, Ideal Landscape: Annibale Carracci, Nicolas Poussin and Claude Lorrain, Yale University Press, New Haven and London, 1990, writes particularly about Claude’s light, pp. 78–80
116 Röthlisberger, Claude Lorrain – The Paintings, p 27.
117 In the Nationalmuseum’s (Stockholm) catalogue of Claude’s paintings, Pontus Grate writes, ”The only known copy of the picture (Musée Fesch, Ajaccio) was probably done much later, in the early nineteenth century when it belonged to Lucien Bonaparte in Rome.”
118 According to Röthlisberger, Burlington Magazine, 115, 1973, it looks like I am the first one that has requested the painting after Röthlisberger’s basic research about Claude in the 1950s, early 1960s.
119 In an e-mail, Marcel Röthlisberger writes to me that he does remember having examined the painting on a visit there and noted it as an Italian 18th-century copy in his book.
120 Marcel Röthlisberger, “A Painting by Claude”, Burlington Magazine, 115, 1973, p. 652.
121 A copy’s status depends on the quality, when it was painted, who made it, and who owns it – the original and the copy together form a history and a narrative. For example, Rubens’ copy after Titian’s Adam and Eve and the original today hang side by side in the Prado Museum in Madrid. This invites the viewer to compare the two masters. A totally different situation, this time connected to memory and colonial politics, is told by Constable’s copy hanging at The Art Gallery of New South Wales in Sydney, Australia, in relation to the original by Claude at National Gallery in London. The distance between the original and the copy for me illustrates the Claudian model’s success and transformation to a British landscape tradition exported to the colonies of the Empire. See Lynne Cooke’s essay for Matts Leiderstam No Different at all, Nunsku, 1996. In the case of the historical painting of the dead Swedish King Karl XII, made by Cederström, they even switched ranks: i.e. copy becomes original and original becomes copy.
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