Baroque Landscape Paintings

Diverse landscapes from the Baroque period, featuring serene natural scenes with biblical themes, vivid colors, and detailed figures in harmony with nature.

Landscape with Saint Paul the Hermit by Poussin, Nicolas (1594-1665) / Museo del Prado, Madrid / Baroque / 1638 / France / Oil on canvas / Landscape,Bible / 155x234

Przeszłość Przyszłości Norblin, Jan Piotr (1745 1830)

Landscape with Saint Paul the Hermit by Poussin, Nicolas (1594-1665) / Museo del Prado, Madrid / Baroque / 1638 / France / Oil on canvas / Landscape,Bible / 155x234

Schiavonetti, Luigi, work, Louis XVI in front of the National Convention 26 December 1792, 1792, technique text: point and line engraving, graphics, plate width 66.2 cm, plate height 54.1 cm, image width 60.2 cm, image height 44.5 cm

Classical Landscape with Figures and Animals: Sunset Signed and dated in paint, lower left: "J. Wootton fect 1754", John Wootton, 1682-1764, British

Pond in the Woods. Narcisse Virgile Diaz de la Peña; French, 1807-1876. Date: 1862. Dimensions: 68 × 89.8 cm (26 3/4 × 35 3/8 in.). Oil on canvas. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Narcisse Virgile Diaz de la Peña.

Virgil's Tomb by Moonlight, with Silius Italicus, Joseph Wright of Derby, 1734-1797, British, active in Italy (1773-75), 1779, Oil on canvas, Support (PTG): 40 1/16 x 50 1/4 inches (101.8 x 127.6 cm), cave, landscape, literary theme, man, portrait, steps, tomb, Italy, Napoli, Posillipo

Return from the Hunt, Charles Rochussen, Johannes Franciscus Hoppenbrouwers, c. 1845

Westburn, William Dyce (Aberdeen, Scotland, 1806 - 1864) c.1827

Democritus and Abderites, Michallon, Achille Etna (1796-1822)

Perspective box of black lacquered wood with three painted glass plates: depiction of ruin, cattle, farmers, inn, sailing ship, mill, perspective glass panel glass wood oak wood brass, handpainted Perspective cupboard in black lacquered oak (circa 1875-1900). On both sides metal hooks on one side brass knob to pull the box out of the storage box. In the case at equal distances from each other three painted glass plates (circa 1775-1810): foreground center and background creating three-dimensional effect Top left at the glass plates with paint resp. C1; C2; C3 optics perspective glass painting diafanorama

View of Olinda, Brazil, Frans Jansz Post, 1662 painting View of Olinda in Dutch Brazil. On the left on a hill a group of people at the ruin of the church. In the foreground tropical plants, fruits and animals (Armadillo, monkey, sloth, ant eater, lizard). canvas. oil paint (paint) landscapes in the non-temperate zone, exotic landscapes. landscape with ruins. church (exterior). other mammals: armadillo. monkeys, apes. lizards: lizard Olinda. Dutch-Brazil

Garden of Eden. Jan van Kessel I (1626-1679). Oil on canvas, 64.8 x 92.7cm.

To the Village by unknown Flemish artist, oil on wood, 17th century, USA, Pennsylvania, Philadelphia, David David Gallery

Scene in Tours, by Josephus Augustus Knip, 1808, French watercolor painting. Ancient Roman bridge at St. Avertin near Tours with a herder and animals. (BSLOC_2016_1_251)

Return from the Hunt. Dating: c. 1845. Measurements: h 80 cm × w 102.5 cm; d 11 cm. Museum: Rijksmuseum, Amsterdam. Author: Johannes Franciscus Hoppenbrouwers (mentioned on object). Charles Rochussen (mentioned on object).

The quarry, Abraham Begeyn, 1660

Landscape with the Ruins of Rijnsburg Abbey; about 1645; Oil on canvas Aelbert Cuyp; Dutch; 1620-91

George Fennell Robson, 1788-1833, British, The Murder of Banquo, ca. 1830. Watercolor and gouache with pen and brown ink on moderately thick, slightly textured, cream wove paper.

'Landscape with the Good Samaritan'. Flanders. Dimensions: 82x122 cm. Museum: State Hermitage, St. Petersburg. Author: ADRIAEN VAN STALBEMT.

unknown artist, Solitude, The Reading Magdalene, undated. Brown wash and pen and brown ink on medium, slightly textured, cream wove paper, mounted on moderately thick, slightly textured, cream wove paper.

'Landscape with Mercury and Argus'. Italy, First half of the 18th century. Dimensions: 95x170 cm. Museum: State Hermitage, St. Petersburg. Author: ANDREA LOCATELLI.

The Destruction of the Children of Niobe, Richard Wilson RA, 1714-1782, British, active in Italy (1750-56), 1760, Oil on canvas, Support (PTG): 58 x 74 inches (147.3 x 188 cm), Apollo and Diana kill Niobe's children, arrows, castle, children, cliff, costume, death, destruction, Greek, heroine, horse (animal), landscape, legend, lightning, meteorology, mountains, murder, myth, poem, poet, queen (person), religious and mythological subject, science, storm, waves (natural events), Boeotia, Greece, Thebes, Voíótía

View near New London, Connecticut Francis Augustus Silva (American, 1835-1886). View near New London, Connecticut, 1877. Opaque and transparent watercolor over graphite on beige, moderately thick, slightly textured wove paper, 17 9/16 x 27 5/8 in. (44.6 x 70.2 cm). This large-scale watercolor, displayed at the American Watercolor Societys 1877 annual exhibition, is typical of Francis Silvas oeuvre in its marine subject matter, crystalline lighting effects, and inconspicuous brushwork. The broken mast on the beach at left makes a subtle allusion to natures destructive power in this otherwise placid scene. American Art 1877

Conference of painters, 1848, by Enrico Gonin (1798-1870), oil on canvas, 103x148 cm. Ducal Castle of Aglie, Piedmont.

The Evening Coach, London in the Distance, Philippe-Jacques de Loutherbourg, 1740-1812, French, active in Britain (from 1771), 1805, Oil on canvas, Support (PTG): 29 1/2 x 46 inches (74.9 x 116.8 cm), carriage, coach, dog (animal), donkey, hills, horses (animals), landscape, man, peasants, people, river, stick, water, England, Greater London, Greenwich, London, United Kingdom

Gray's Elegy in a Country Church Yard.

The Eli Whitney Gun Factory, verso: Blacksmith ShoeingHorse. Artist: William Giles Munson, American, 1801-1878

Woodman, Spare that Tree, M. McClure, American, after 1837, Oil on canvas, Made in United States, North and Central America, Paintings, 45 1/2 x 54 1/2 in. (115.6 x 138.4 cm)

Satyrs and sleeping nymphs against Italian landscape. Poelenburch, Cornelis van (ca 1594/1595-1667), painter

John Robert Cozens, 1752-1797, British, A View from the Inn at Terracina, 1783. Watercolor and graphite on medium, slightly textured, cream laid paper.

An Imaginary Italianate Landscape with Classical Figures and a Waterfall, Thomas Jones, 1742-1803, British, active in Italy (1776-83), ca. 1773, Oil on canvas, Support (PTG): 14 3/16 x 20 7/8 inches (36 x 53 cm), buildings, Classical, costume, dogs (animals), figures, hills, Italianate, landscape, men, river, rocks (landforms), walking, waterfall, Italy

Landscape near Crémieu, c. 1849, Charles-François Daubigny, French, 1817-1878, 24 3/4 x 35 3/4 in. (62.87 x 90.81 cm) (sight)33 1/4 x 44 1/8 x 2 1/4 in. (84.46 x 112.08 x 5.72 cm) (outer frame), Oil on canvas, France, 19th century

'Storm over Tempelhofer Berg', 1846, Oil on paper, 31 x 47 cm. Author: ADOLPH VON MENZEL. Location: LOUVRE MUSEUM-PAINTINGS. France.

Bridge on the Malton Road from York, Rev. William Gilpin, 1724-1804, British, undated, Gray and orange wash with pen and gray ink over graphite on moderately thick, slightly textured, cream wove paper prepared with orange wash, mounted on thick, moderately thick, blued white laid paper with wash line border, Mount: 14 5/8 x 17 3/4 inches (37.2 x 45.1 cm), Contemporary drawn border: 13 1/4 x 16 3/16 inches (33.7 x 41.1 cm), and Sheet: 11 1/8 x 13 7/8in. (28.3 x 35.2cm), arch bridge, arches, architectural subject, bridge (built work), hats, landscape, river, rocks (landforms), trees, England, Europe, Malton, North Yorkshire, United Kingdom

James II Receiving the Mathematical Scholars of Christ's Hospital, Studio of Antonio Verrio, ca. 1639-1707, Italian, active in Britain, undated, Gouache, watercolor, and graphite on moderately thick, slightly textured, cream laid paper mounted on canvas and nailed to wooden strainer, Sheet: 18 1/16 × 92 3/4 inches (45.9 × 235.6 cm) and Frame: 25 x 101 inches (63.5 x 256.5 cm), historical subject, portrait

HACKERT Jacob Philippe(1737-1807) The ruins of temple at Segesta en Sicily 1778 Oil on canvas 124x170 State Pushkin Museum of Fane Arts Moscow

Mercury and Battus by Francisque Millet (1642 - 1679); Oil on canvas

Coplestone Warre Bampfylde, 1719-1791, British, The Humble Rock, undated. Watercolor and graphite on medium, sligtly textured, cream laid paper.

Joseph Farington, 1747-1821, British, A Sailing Dinghy with Three Men Leaving a Rocky Inlet, undated. Watercolor, with pen in brown ink, black ink, and graphite; verso: graphite on moderately thick, moderately textuered, beige, wove paper.

Jean-Baptiste-Camille Corot (Paris, 1796-1875). Solitude. Recollection of Vigen, Limousin (1866). Oil on canvas. 95 x 130 cm. Museum: Museo Nacional Thyssen-Bornemisza, Madrid.

The Grand Staircase of the Villa d'Este at Tivoli, 1760, Jean-Honoré Fragonard, French, 1732-1806, 32 1/4 x 41 1/4 in. (81.92 x 104.78 cm) (sight)44 1/2 x 53 1/2 x 3 1/2 in. (113.03 x 135.89 x 8.89 cm) (outer frame), Oil on canvas, France, 18th century, The talented, versatile French painter Jean-Honoré Fragonard was a gifted landscapist. He took up landscape in earnest during his five years in Italy, including one memorable summer ensconced at the Villa dEste in Tivoli, which his patron the Abbé de Saint-Non had rented for the season. The villas dramatic, picturesque gardens had drawn legions of artists to Tivoli—twenty miles west of Rome—for centuries. Fragonard used his stay mainly to produce mostly red-chalk studies drawn en plein air, or outside. This picture, executed back in Fragonards studio in Rome, was inspired by one of those drawings. Fragonard used the gathering clouds, cooling mists from the Fountain of the Dragon, and shade of lush cypresses to capture some relief on

Flight into Egypt, 1609, by Adam Elsheimer (1578-1610), oil on copper, 31x41 cm.

Claudio de Lorena / 'Moses saved from the waters of the Nile', 1639-1640, French School, Oil on canvas, 209 cm x 138 cm, P02253. Museum: MUSEO DEL PRADO, MADRID, SPAIN. Author: CLAUDE LORRAIN.

Landscape with a Plowed Field and a Village probably after 1827 Georges Michel French As a restorer at the Louvre, Michel became familiar with Dutch seventeenth-century landscapes by Van Ruisdael, Van Goyen, and Rembrandt. Though Michels works are rarely dated, making it difficult to understand the development of his own landscape style, works like this one provided a link to the northern tradition well before those by the Englishman John Constable caused a sensation in Paris in 1824.This imaginary view was painted on paper mounted on canvas, an inexpensive means of starting with a smooth surface in emulation of more expensive wood panel, the favored support of Dutch old masters.. Landscape with a Plowed Field and a Village. Georges Michel (French, Paris 1763-1843 Paris). probably after 1827. Oil on canvas. Paintings

Arcadian Landscape, by Jan Willem Pieneman, 1813, Dutch painting, oil on canvas. Shepherd and shepherdess in ancient Grecian costume next to an ancient tomb. (BSLOC_2016_1_151)

Simon de Vlieger, Boats on the beach at Scheveningen, painting visual material wood oil, Rotterdam Loan National Institute for Cultural Heritage

Landscape with Stagecoach. oil on canvas. Date: 1856. Museum: Smithsonian American Art Museum.

The Village Fest by unknown artist, oil on wood, 17th Century, USA, Philadelphia, Pennsylvania, David David Gallery

The milk bend, Willem Roelofs, I, 1870 - 1897

Marco Ricci (Belluno, 1676-Venice, 1730). Landscape with a Storm (1701). Oil on canvas. 89 x 146 cm. Museum: Museo Nacional Thyssen-Bornemisza, Madrid.

Crossing of the Red Sea, fresco by Giovanni Battista Ronchelli (1715-1788), villa Recalcati, Varese, Lombardy. Italy, 18th century.

Bliżej Kultury Verlag of A.E. Seemann in Leipzig, Steinhausen, Wilhelm (1846 1924)

Egipto. 1870. Óleo. Colección privada. Author: Francesc Torrescassana.

Attributed to Peter DeWint, 1784-1849, British, Windsor Castle, early 19th century. Oil on millboard.

Joseph Mallord William Turner, 1775-1851, British, Tell's Chapel, Lake Lucerne, 1841. Watercolor, gouache and scraping out on medium, slightly textured, cream wove paper.

Bliżej Kultury Publisher by A.E. Seemann in Leipzig, Hareux, Ernest Victor (1847 1909)

Aqueduct in Ruins Hubert Robert French Almost all of the paintings from the Hôtel Rouillé de l'Étang apparently include a water feature, in this case a basin overflowing into a stream forded by a flock of sheep. To the left is a shepherd with his dog, and to the right, a boy who washes his hat at the fountain. The curving aqueduct occupies the middle distance.. Aqueduct in Ruins 437471

View north of Kronborg Castle. Date/Period: Ca. 1810. Painting. Width: 78 cm. Height: 62.5 cm. Author: Christoffer Wilhelm Eckersberg.

Landscape with Dice Players unknown

Modern Italy, The Pifferari, JMW Turner, circa 1838,

Night by Jan van de II Velde, oil on wood, 1593-1641, Russia, St. Petersburg, State Hermitage, 30x44, 5

George Sand's Garden at Nohant ca. 1842-43 Eugène Delacroix French During the 1840s Delacroix made three summer visits to Nohant in central France, where he stayed at the country home of his friend the writer Aurore Dudevant, better known by her pseudonym George Sand. This verdant view on the south side of the house, whose focal point is a simple stone table (or bench), was preceded by a pencil sketch that probably dates to 1842 or 1843 (Musée Carnavalet, Paris). One of Delacroix's rare pure landscapes, it was undoubtedly painted as a gift for Sand.. George Sand's Garden at Nohant. Eugène Delacroix (French, Charenton-Saint-Maurice 1798-1863 Paris). ca. 1842-43. Oil on canvas. Paintings

fine arts, Warnberger, Simon (1769 - 1847), ""Ansicht von Harlaching an der Isar"", painting, 1798, pen drawing and watercolour, 29,2x44 cm, Stadtmuseum Munich,

Full-Scale Study, The Leaping Horse, John Constable, circa 1824-1825,

The Cemetery at Pronoia near Nauplia. Artist: Carl Rottmann (German, Handschuhsheim 1797-1850 Munich). Dimensions: 10 x 12 in. (25.4 x 30.5 cm). Date: ca. 1841-47.In 1834, King Ludwig I of Bavaria commissioned a cycle of Greek landscapes from Rottmann that eventually numbered thirty-eight canvases (Bayerische Staatsgemäldesammlungen, Munich). This sketch is the most freely painted of some half a dozen studies for <i>Pronoia</i> (1846/47), which commemorates the burial place of Bavarian soldiers who helped vanquish the Ottoman Turks at nearby Nauplia in 1822, during the Greek War of Independence. Museum: Metropolitan Museum of Art, New York, USA.

Joseph Mallord William Turner, 1775-1851, British, Devil's Bridge, Saint Gotthard's Pass, ca. 1804. Watercolor, white wax crayon and scraping out on moderately thick, moderately textured, cream wove paper.

Fisherman at waterside. unknown, painter

Caretaker's Cottage in the Forest of Compiegne, 1826, Paul Huet, French, 1803-1869, 45 1/4 x 58 in. (114.9 x 147.3 cm) (image)58 3/4 x 71 in. (149.2 x 180.3 cm) (framed), Oil on canvas, France, 19th century, Paul Huet was a principal intermediary between the French and British landscape schools during the revolutionary decade of the 1820s. From 1822, he sketched in oil regularly in suburbs of Paris. In the year that this early masterwork was painted he was sharing a studio with Eugene Delacroix and Richard Parkes Bonington.

Orpheus Returning from the Underworld, 1630. Attributed to Tobias Verhaecht... Previously attributed to follower of Hieronymus Bosch.

Townscape by Sylvester Feodosiyevich Shchedrin, oil on canvas, 1811, 1791-1830, Russia, St. Petersburg, State Russian Museum

The Storm, JMW Turner, circa 1840-1845,

The River Jan Siberechts (ca.1627-1703 Flemish) Oil On Canvas Pushkin Museum of Fine Arts, Moscow, Russia

Symbolic scene - Poverty and misery come to see us. Gierdziejewski, Ignacy (1826-1860), painter

Ville-d'Avray, Camille Corot, 1870, Metropolitan Museum of Art, Manhattan, New York City, USA, North America

The Prodigal Son.The lost Son. The story of the lost son, portrayed in four scenes on one painting. On the left the son says goodbye to his father, behind that he drinks a table with a woman outside of a inn. To the right of this, the son can be seen as a pig powder and extremely the right the return home of the Son, welcoming the father and slaughtering the fattened calf. The canvas is part of a series of parabels painted for the Lutheran church in Leiden (see also NRS. SK-A-2959 and SK-A-2960).

Painting of The Parting of Hero and Leander by JWM Turner

Evening Amusements outside the Gates of Constantinople by Bossoli, Carlo (1815-1884) Private Collection 1841 Watercolour, Gouache on Paper 39x60 Schwitzerland Orientalism Landscape,Genre Painting

fine arts, painting, miniature, School of Jan Brueghel the Elder, ""Christ at the Mount of Olives with the sleeping disciples"", oil on canvas, Flanders, circa 1600, Bavarian National Museum, Munich,

George Stubbs, 1724-1806, British, Two Gentlemen Going a Shooting, 1768. Oil on canvas.

Rest on the Flight into Egypt, manner of Jan Brueghel, I, 1600 - 1699

Stage Fort across Gloucester Harbor. Artist: Fitz Henry Lane (formerly Fitz Hugh Lane) (1804-1865). Dimensions: 38 x 60 in. (96.5 x 152.4 cm). Date: 1862.Lane returned to his native Gloucester from Boston in 1848. His works of the 1850s and 1860s are successively purged of genre and topographical elements, becoming increasingly spare and essential. By 1862, Lane had engineered a seamless, self-effacing style, possibly influenced by the works of Martin Johnson Heade. Stage Fort, once the site of military fortifications, sits on an arching land form used to lead the viewer's eye into the glowing, lucid, and almost eerily still distance. Despite the disjuncture between the virtually surreal, meticulously painted foreground and the sheer plane of water near the horizon, this work marks the transition to Lane's final, taut, elemental style. The painting's disquieting stasis, even with its hopeful pink and golden glow, creates a hermetic, elegiac mood found in many of Lane's late works. Mus

Shepherd scene with a castle view; Roos, Philipp Peter (1657-1706); 18th century (1701-00-00-1800-00-00);

LAVANDERAS AL PIE DEL RONDA - SIGLO XIX. Author: MANUEL BARRON Y CARRILLO (1814-1884). Location: MUSEO DE BELLAS ARTES-CONVENTO DE LA MERCED CALZAD. Sevilla. Seville. SPAIN.

Castles.Oil. Museum: PRIVATE COLLECTION. Author: FRANCESC GIMENO.

Union of the Thames and Isis ('Dorchester Mead, Oxfordshire). Date/Period: 1808. Painting. Oil on canvas. Height: 908 cm (29.7 ft); Width: 1,213 cm (13.2 yd). Author: J. M. W. Turner.

The Cemetery at Pronoia near Nauplia ca. 1841-47 Carl Rottmann German In 1834, King Ludwig I of Bavaria commissioned a cycle of Greek landscapes from Rottmann that eventually numbered thirty-eight canvases (Bayerische Staatsgemäldesammlungen, Munich). This sketch is the most freely painted of some half a dozen studies for Pronoia (1846/47), which commemorates the burial place of Bavarian soldiers who helped vanquish the Ottoman Turks at nearby Nauplia in 1822, during the Greek War of Independence.. The Cemetery at Pronoia near Nauplia 438953

On The Isis, 1764. Paul Sandby. "The Isis" is an alternative name for the River Thames - deriving from the ancient name for the Thames, Tamesis.

Stagecoach Station by Samoylov, Vasili Vasilyevich (1813-1887)/ State Russian Museum, St. Petersburg/ 1854/ Russia/ Oil on canvas/ Russian Painting of 19th cen./ 58,5x89/ Landscape,Genre

Changing of the Guard at the TsarinaÍs Meadow in Saint Petersburg by Ivanov, Mikhail Matveevich (1748-1823)/ State Tretyakov Gallery, Moscow/ 1799/ Russia/ Pen, brush, watercolour, ink and white colour on paper/ Classicism/ 45,4x68,5/ Landscape,Genre

gift (provenance)

Autumn night in St. Petersburg by Vorobyev, Maxim Nikiphorovich (1787-1855) / State Tretyakov Gallery, Moscow / Classicism / 1835 / Russia / Oil on canvas / Landscape / 74x110,7

Mounting of the Guard. Dated: mid 19th century. Dimensions: overall: 67.5 x 100 cm (26 9/16 x 39 3/8 in.) framed: 76.8 x 110.2 x 5.3 cm (30 1/4 x 43 3/8 x 2 1/16 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Redpath.

John Inigo Richards RA, 1730/31-1810, British, A Scene from 'The Maid of the Mill', 1765. Oil on canvas.

Karl Girardet (1813-1871). "Tent of the leader of the Moroccan army (Sidi-Mohammed Ben Abd-el-Rahman, son of the Emperor of Morocco), taken at the Battle of Isly, August 14, 1844, and exhibited at the Garden of Tuileries" . Oil on canvas, 1845. Paris, Carnavalet museum. 37880-9 Arrondissement Ier i 1er 1, Battle Isly, Chef Moroccan Army, exhibited, Tuileries Garden, Louis-Philippe, Tent, Oil on canvas

Rev. James Bulwer, 1794-1879, British, One from A Volume of Drawings and Prints, 1837. Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper.

Walter Goodall, 1830-1889, British, Glencoe: A Shepherd Boy Crossing a Burn, 1857. Watercolor over graphite with scratching out on medium, moderately textured, cream wove paper.

'Still Life with Flowers and Parrot'. Italy, Second half of the 17th-first half of the 18th century. Dimensions: 58x119 cm. Museum: State Hermitage, St. Petersburg. Author: Gasparo Lopez ( ).

TOROS BAJANDO AL RIO EN LA MUÑOZA, 1840, O/L 61x75, NºINV 769 -. Author: EUGENIO LUCAS VELAZQUEZ (1817-1870). Location: ACADEMIA DE SAN FERNANDO-PINTURA. MADRID. SPAIN.

The enchanted castle. Date/Period: 1851 - 1917 (active). Painting. Oil, canvas, Wood, plaster, partially gilded. Height: 370 mm (14.56 in); Width: 475 mm (18.70 in). Author: Matthijs Maris.

Armida Encounters the Sleeping Rinaldo, Giovanni Battista Tiepolo, 1742-1745, Art Institute of Chicago, Chicago, Illinois, USA, North America,

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