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 :. | Hanwich Lightouse | Old Sarum at noon | Brighton Beach 12 june 1824 | Cloud Study over a horizon of trees | Branch Hill Pond |
Related Artists:
George Henry Hall
1825-1913 American painter. Brought up in Boston, he began his career as an artist at the age of 16. In 1849 he travelled with his friend Eastman Johnson to D?sseldorf. Hall studied at the K?nigliche Akademie for about a year, and after a further two years of study in Paris and Rome he returned in 1852 to New York where he settled. However, he remained an enthusiastic traveller and spent a total of more than 20 years abroad.
Rene-Antoine Houasse
(c. 1645 - 1710) was a decorative French painter. He was a pupil of Charles Le Brun, under whose direction he worked at the Manufacture des Gobelins, and with whom he worked on the decoration of the Château de Versailles. He was the director of the French Academy in Rome from 1699 to 1704. His son was Michel-Ange Houasse, a painter of genre scenes.
Barent fabritius
Dutch Baroque Era Painter, 1624-1673 Painter and draughtsman, brother of Carel Fabritius. Like Carel, he was first taught painting by his father, also learnt carpentry and practised as an artisan in Midden-Beemster in 1641. He is documented in Amsterdam in 1643 and 1647, though it is not known if, like his brother, he was also a pupil of Rembrandt. Nevertheless, his style is similar to that of the Rembrandt school. He must have been trained in the second half of the 1640s. His work is reminiscent of the style of his brother, who clearly influenced and may also have instructed him. In 1652 Barent lived in Amsterdam and married Catharina Mussers in Midden-Beemster. In the following years he is documented alternately in Midden-Beemster and Amsterdam. He painted a group portrait of the town master builder, Willem Leenderstsz. van der Helm and his Family (1656; Amsterdam, Rijksmus.), in Leiden, and in 1660-61 he received further commissions for the Lutheran church in Leiden. From 1669 Barent lived with his family in Amsterdam, where he died at the age of 49. He was buried in the churchyard in Leiden that was usually reserved for the poorer inhabitants of Amsterdam.