1776-1837 British John Constable Locations 1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy  Related Paintings of John Constable :. | The jumping horse | The Village fair,East Bergholt 1811 | Portrait der Maria Bicknell | Hadleigh Castle | Der Heuwagen, Studie |
Related Artists:
Albert goodwin,r.w.s
1845-1932 English painter. During the early 1860s Goodwin studied with Arthur Hughes and Ford Madox Brown, who predicted that his pupil would become 'one of the greatest landscape painters of the age'. Hughes and Brown impressed on Goodwin the Pre-Raphaelite principles of high finish, vivid colour and working directly from nature that inform his early landscape style,
VERNET, Claude-Joseph
French Painter, 1714-1789 Painter. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.
Elliott Charles Loring
born in Scipio, New York, in December 1812; died in Albany, NY., 25 Sept., 1868. died in Albany, NY., 25 Sept., 1868., American painter. Resolved to become an artist, he moved from Syracuse, NY, to New York City around 1830, bearing a letter of introduction to John Trumbull and reportedly receiving some brief instruction from him. Elliott spent six months in the studio of the genre painter John Quidor but returned to upstate New York, where he worked for several years as an itinerant portrait painter. Back in New York City by 1839, his art steadily improved; Henry Inman met him around 1844-5, whereupon he predicted: 'When I am gone that young man will take my place'. Elliott's portrait of Capt. John Ericsson (c. 1845; untraced) won praise in 1845 as 'the best American portrait since [Gilbert] Stuart', and from that date he was acknowledged as New York's leading portrait painter. His facility for capturing a vivid, characteristic likeness and his genial personality assured a constant stream of private patrons and public commissions. In 1867 it was reported that he had executed nearly 700 portraits.