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 :. | Landscape study:Scene in a park | Study of the trunk of an elm tree | Bright Beach with Shipping and a gig to june 1824 | The Kitchen Garden at East Bergholt House,Essex | The path to the church |
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John William Casilear
(June 25, 1811 - August 17, 1893) was an American landscape artist belonging to the Hudson River School. Casilear was born in New York City. His first professional training was under prominent New York engraver Peter Maverick in the 1820s, then with Asher Durand, himself an engraver at the time. Casilear and Durand became friends, and both worked as engravers in New York through the 1830s. By the middle 1830s Durand had become interested in landscape painting through his friendship with Thomas Cole. Durand, in turn, drew Casilear's attention to painting. By 1840 Casilear's interest in art was sufficiently strong to accompany Durand, John Frederick Kensett, and artist Thomas P. Rossiter on a European trip during which they sketched scenes, visited art museums, and fostered their interest in painting. Casilear gradually developed his talent in landscape art, painting in the style that was later to become known as the Hudson River School. By the middle 1850s he had entirely ceased his engraving career in favor of painting full-time. He was elected a full member of the National Academy of Design in 1851, having been an associate member since 1831, and exhibited his works there for over fifty years. Casilear died in Saratoga Springs, New York in 1893.
Fisher Jonathan
American. b.1768 d.1847 was the first Congregational minister from 1794 to 1837 in the small village of Blue Hill, Maine in the United States. Although his primary duties as a country parson engaged much of his time, Fisher was also a farmer, scientist, mathematician, surveyor, and writer of prose and poetry. He bound his own books, made buttons and hats, designed and built furniture, painted sleighs, was a reporter for the local newspaper, helped found Bangor Theological Seminary, dug wells, built his own home and raised a large family. Truly a renaissance man in the breadth of his accomplishments Fisher invites comparison with a Franklin or Jefferson. In his manners, morals and writings Fisher represents the best of the vigorous New England churchmen who shaped the standards of their congregations during America's formative years.
domenico chirlandaio
Domenico Ghirlandaio (1449 - 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as 'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities. He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494. Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname Il Ghirlandaio (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic.