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 :. | Brighton Beach | Salisbury Cathedral from the Bishop s Grounds | Portrat der Maria Bicknell | Dedham Vale | Salisbury Cathedral from the Bishop's Grounds |
Related Artists:
Frederick Macmonnies
American Sculpture 1863-1937,American sculptor and painter. During his apprenticeship in New York (1880-84) with Augustus Saint-Gaudens, who discovered and encouraged his talent, he rose from menial helper to assistant, studying in the evenings at Cooper Union and the National Academy of Design. Through Saint-Gaudens he met two architects who later became invaluable colleagues: Stanford White and Charles F. McKim, who lent him money in 1884 to go to Paris. He studied drawing at Colarossi's then went to Munich, attending drawing and portrait classes at the Akademie (1884-5) and worked for Saint-Gaudens again (1885-6). In Paris he studied sculpture with Alexandre Falguiere at the Ecole des Beaux-Arts,
Egedius, Halfdan
1877-1899,Norwegian painter and illustrator. His artistic education began at the age of nine, when he enrolled at the school of art of Knud Bergslien (1827-1908) in Kristiania, where he was a pupil from 1886 to 1889. Even from this early period his painted studies and drawings, for instance of his sister Signe and brother Carl (both 1887; Oslo, N.G.), reveal striking maturity. In 1891 he was a pupil of Erik Werenskiold and from 1891 to 1892 he studied at the Arts and Crafts School in Kristiania. Egedius discovered his strongest impetus and greatest inspiration, however, on his first visit to Telemark in south-west Norway in summer 1892. The artist Torleif Stadskleiv (1865-1946), whom he met there and who became his closest friend, endeared the region to Egedius with stories of its traditions and people. In 1894 Egedius studied for a short period under Harriet Backer, and he made his d?but at the Kristiania Autumn Exhibition in 1894 with the painting Saturday Evening (Oslo, N.G.), painted in Telemark the previous year, which won high praise. In this landscape the atmosphere of the summer night is rendered with a lyrical use of colour and soft brushstrokes. Egedius spent the summer of 1894 in the inspiring and instructive company of a group of artists at V?g? in the Gudbrands Valley in north-west Norway, but for the summer of 1895 he was again in Telemark. Since his previous stay there he had matured artistically and his work now revealed a new confidence and boldness. The most notable paintings from 1895 are 'Juvrestolen' in Telemark, The Dreamer, Girls Dancing and the magnificent portrait of Mari Clasen (all Oslo, N.G.). He also began work on Music and Dance (Oslo, N.G., see fig.), which he continued the following year.
Gaetano Gandolfi
(August 31, 1734 - June 20, 1802) was an Italian painter of the late Baroque and early Neoclassic period, active in Bologna. Gaetano was born in San Matteo della Decima, near Bologna, to a family of artists. Ubaldo Gandolfi was his brother, Mauro Gandolfi was his son, and Democrito Gandolfi was his grandson. Gaetano became a "student" at the Accademia Clementina in Bologna, where he was taught by Felice Torelli and Ercole Lelli. In the academy, he was the recipient of several prizes for both figure drawing and sculpture. Later, in an autobiography, Gaetano claimed Felice Torelli (1667 - 1748) as his master. Other sources mention Ercole Graziani the Younger (1688 - 1765) and Ercole Lelli. He traveled to England, and became strongly influenced by Tiepolo. Gaetano died in Bologna, Italy.