English Romantic Painter, 1775-1851 landscape master landscape master .British painter and printmaker. He dominated British landscape painting throughout the first half of the 19th century. He established a reputation in the Royal Academy, London, first as a topographical watercolourist and then within a few years as a painter of Sublime and historical landscapes.   Related Paintings of J.M.W. Turner :. | Dover Castle | St. Anselm-s Chapel with part of Thomas-a-Becket-s Crown,Canterbury | Rain,Steam and Speed-The Great Western Railway | The Great Fall of the Reichenbach,in the Valley of Hasle,Switzerland | Alnwick Castle, Northumberland |
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Bernhard Rode
Bernhard Rode (25 July 1725 - died 28 June 1797) was a Prussian artist and engraver well-known for portraying historical scenes and allegorical works. He knew most of the central figures in the Berlin Enlightenment as Friedrich Nicolai and Gotthold Lessing, and the philosophical and political discussions of the Berlin Philosophs informed much of the subject matter of his artistic work. His paintings include several works depicting, in various guises, the King of Prussia Frederick the Great, who ruled the Prussia during much of Rode's lifetime. Rode was director of the Berlin Academy of the Arts from 1783 until his death in 1797. Rode was the son of a goldsmith Christian Bernhard Rode and his wife, Anna Sophie. The copper engraver Johann Heinrich Rode and the sculptor Philipp Rode were his brothers. He received his earliest artistic training from his father and his earliest training in drawing from a painter, N. Meller. His four-year education at the studio of the court painter Antoine Pesne, an influential painter in Berlin and Brandenburg, was important to his professional development. During his apprenticeship, he learned to paint portraits. In 1748, Rode began a study trip of several years. He spent 18 months in the studio of Jean Restout and Charles Andre van Loo (sometimes known as Carle van Loo or Vanloo). He became acquainted with Jean-Baptiste Deshayes and developed his talent and interest in the medium of history painting. In Venice and Rome, he studied the old masters. In 1755 or 1756, he returned to Berlin, and he married Sophie Luise, but the earliest years of their marriage remained childless.
Jacques Sablet
Jacques Sablet (1749 - 1803) was a Swiss painter. Son of a decorator and gilder from Lausanne, he studied with his father before moving to Paris in 1772; there he worked with Joseph-Marie Vien for three years. When in 1775 Vien was named director of the French Academy in Rome, Sablet accompanied him there. His ambition was to be a history painter, but facing competition from Jacques-Louis David and Pierre Peyron, among others, and lacking solid academic training, he could win no commissions. Instead he turned to portraiture , genre painting, and landscape painting. Most of his genre scenes depicted the city's everyday life and customs of the Campagna. Sablet shared a studio with history painter Hubert Drouais and was friends with Simon Denis. He fled to Florence in 1793 with the rise of anti-French sentiment in the Papal States, but perhaps because of the competition he would face there from Louis Gauffier he soon returned to Paris.
Ramon Bayeu
1746-1793 Spanish Ramon Bayeu Gallery The biography of Jose del Castillo (Madrid, 14.10.1737-Madrid, 5.10.1793) shows that the artist, being in his youth one of the most appropriate painters for becoming a leader of the artistic movement of the Illustrious Absolutism, ends up performing secondary work, paintings for tapestry and some religious works of art, which was not the field where he could best display his talent. Jose del Castillo is a perfect example of how an unhappy destiny can influence on the professional life of a painter under the regime of that time. Surely the unhappy destiny, in point of fact, does not explain anything and we will have to find out the real reasons why one of the most promising careers in painting of the eighteenth century in Spain was crushed. Probably it was a combination of two unsuccessful elections, from our point of view, that excluded the figure of Jose del Castillo from the elite group of artists of that time.