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Claude and Dughet 14 SEARCHING FOR CLAUDE AND DUGHET IN ROMAN PALAZZI implying thatthisviAstateisalifetimeimpression.) contemporary andposthumousimpressionsofthisstate", (Mannocci saysofstateviB [Mannocci 13, viA(ofvii)] etching The DanceontheRiver-Bank Claude Gellee(1600-1682) , 5" x711/16"(sheet) , "Thereareboth (c.1634) SEARCHING FOR CLAUDE I Z Z A L A P N A M O R N I T E H AND DUGHET G U D D N A IN ROMAN PALAZZI E D U A L C R O F G N I BY PATRICK HARRINGTON H C R y wife Nancy Patz and I were sitting in Rome, living in the artists’ quarter between the A E the great hall of the Palazzo Colonna, Piazza del Popolo and the Spanish Steps. S beneath the huge ceiling painting of M HIS PAINTINGS & DRAWINGS the 1571 Battle of Lepanto, where a Colonna commanded the papal forces. We were looking In 1975 when I first encountered the wonderful back over a week in Rome, searching out the collection of Claudes at the National Gallery in 15 paintings of Claude Lorrain and Gaspard Dughet. London, I wasn’t aware of Claude’s stature. What It had been a successful search, but we attracted me to his paintings was the unity of the thought we had come to its end when we were effect he achieved. He created an ideal world, approached by a gallery staff member who pastoral and antique, one with no distractions to was about to provide us with an unexpected break the spell. If the arrangement of his framing opportunity to discover more than we had trees and distant mountains strike contemporary hoped for. But first, you might ask: Who were viewers as somehow trite, it may be because T R Claude and Dughet, and why should I care? generations of lesser artists have used him as A F their model. Claude’s paintings are unrivaled in O So here’s the background: M U E their renderings of light, especially that light at S U M day's end, or as it touches the mist lingering in E R O M Claude Lorrain the morning air. But many contemporary viewers, I T L A looking for more spontaneous art, turn from his B “Claude Lorrain has at all times been considered E H paintings to his drawings. And they have a very T the greatest of the landscape painters.” This F O different greatness, with their direct response to Y T is the unqualified opening sentence in Marcel E I nature. This was the focus of last year’s show at C O Roethlisberger’s 1961 catalog raisonné of S (2) the Louvre. H (1) P Claude's paintings. His real name was Claude A R G Gellée, but he was known as Claude Lorrain, after HIS ETCHINGS O T O H the dukedom of Lorraine where he was born in P Claude also produced a small body of etchings. & 1600. Claude went to Rome when he was about G N The catalog raisonné by Lino Mannocci (3) lists I W 13 years old. He traveled some in his twenties, A R 44 (just 27 if we discount a rare pamphlet on a D , but from 1627 until his death he remained in T N Roman fireworks display and a few sketches that I R P E H T I Z were clearly just test plates). Critics have puzzled changes must have been done by Claude, the Z A why he did any etchings at all as he had more plates were kept together and there were excellent L A lucrative commissions for paintings than he could printings in the early 1700s, probably in Paris. P N handle. Perhaps he initially wanted to make his Many editions followed, and finally in the early A M talents better known outside of Rome. In any case, 1800s most of the now worn plates were re-etched O R they are wonderful etchings and were collected with great skill. What happened to them finally N I and reprinted until the worn-out plates disappeared is a mystery. T after 1826. I had not been interested in his E H etchings until I came across a couple of his prints G U Gaspard Dughet D at the 1998 IFPDA Print Fair in New York. At first D glance they seemed a little “scribbly” and N Any discussion in the literature of 17th-century A careless. (I later read that in 1768 the critic landscape painting will mention three artists: E D William Gilpin wrote, “His execution is bad; there Nicolas Poussin, Claude Lorrain and Gaspard U A is a dirtiness in it, which is disgusting. ...”) But L Dughet. Poussin is of course known to most art C they were by Claude, and I was surprised that lovers as an artist with a very classical style and R O they were not prohibitively expensive. I looked “serious” subjects. Recall his painting Et in Arcadia F at them with new eyes and have been collecting G ego—where even in Arcadia death is present! N I them ever since. We now have over 20. Poussin did not do any prints; so we pass on to H C Dughet. He is unfamiliar to most museum goers, R Many of Claude’s etchings are similar to one or A E another of his paintings and thus display grand although you will find a few of his paintings in S vistas. But he was a pioneer in trying to achieve the major museum collections. Gaspard Dughet in etching the effects of atmosphere and lighting was born in 1615, the son of Jacques Dughet, a that were the hallmark of his paintings. And Parisian who had settled in Rome. When Poussin because these effects are subtle, it is important fell ill, he was taken in by the Dughet household, 16 to see lifetime impressions with their delicate and Gaspard’s older sister, Anna Maria, nursed lines—lines lost in the later printings. Some of the him back to health. Poussin and Anna Maria were early impressions have in some areas plate tone— married in 1630, and young Gaspard went to live where some ink was left on the plate outside the in Poussin’s household. Poussin recognized his etched lines—while other areas were wiped clean. talent for drawing and gave him instruction. Within Discussing one such etching, Richard Wallace a few years Gaspard was able to go off on his writes, “Here, as in many of Rembrandt’s prints, own. His big commission to do frescoes for the it seems that Claude was virtually painting with Carmelites in the ancient church of San Martino printer’s ink, much as he would have applied wash Ai Monti launched a very successful career during to a drawing.” (4) which he produced hundreds of paintings and, more importantly, frescoes for the major noble Claude’s etchings were neglected in the first part palaces of Rome. All his biographers emphasize of the 20th century, and it was not until they the speed with which he worked. He died in 1675 were given a prominent place in the great Claude after a few years’ illness. show at the National Gallery of Art in Washington in 1982 (and in the accompanying catalog HIS PAINTINGS & FRESCOES by H. Diane Russell (5)) that interest in them Dughet painted views of the countryside near revived. This was followed in 1988 by Manocci’s Rome, not of the sweeping Campagna like Claude, indispensable catalog raisonné. This profusely but rather of the regions to the east: Tivoli and the illustrated catalog distinguishes the many rough, wooded Apeninnes. He kept houses at Tivoli different states, often on the basis of the tiniest and Frascati and dogs for hunting. His paintings do scratches. Yet he does not attempt to identify not feature ancient ruins, just the contemporary which states were printed by Claude. While it is farm houses and travelers tramping the dirt roads clear that the earliest states showing substantive I Z Z A L A P N A M O R N I T E H G U D D N A E D U A L C R O F G N I H C R A E S 17 Gaspard Dughet (1615-1675) Landscape with Horseman (c.1645) etching, 8" x 11 15/16" inscribed "Gasparo Duche in. sculp. Romae" (1st state, before the address of Mauperche) [Boisclair No. 34, p 179] T R or resting by lakes. Dughet has been credited with in Berlin. Since then I've been able to acquire six of A F the introduction of the “storm landscape.” To the his eight etchings. They are quite different from O M U E frustration of art historians, he never signed or Claude. They are done with a rapidity and have an S U M dated his paintings. I liked his paintings and have openness, with dramatic lights and dark shadows. E R O M sought them out, but his best work was considered I T L A to be his frescoes still on the walls where they B E H were painted. Our Journey to Rome T F O Y HIS ETCHINGS So with my involvement in the etchings of Claude T E I C and Dughet, I had developed a yearning to see O S Dughet did do a few etchings: four rectangular H what remains of their work in the city where it P A and four circular. In an exhibition catalog from the R G was produced. Our focus would be the art of the O T Boston Fine Arts Museum, Italian Etchers of the O 16th and 17th centuries.
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