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 :. | Stormy Sea,Brighton 20 july 1828 | Cloud Study 6September 1822 | Seascape Study with Rain Cloud | The Hay Wain | The jumping horse |
Related Artists:
Benjamin Champney
(November 20, 1817 - December 11, 1907) was a painter whose name has become synonymous with White Mountain art of the 19th century. He began his training as a lithographer under celebrated marine artist Fitz Henry Lane at Pendleton's Lithography shop in Boston. Most art historians consider him the founder of the "North Conway Colony" of painters who came to North Conway, New Hampshire and the surrounding area during the second half of the 19th century. His paintings were often used to make chromolithographs that were subsequently sold to tourists who could not afford Champney's originals. He exhibited regularly at the Boston Athenæum and was a founder of the Boston Art Club
Karel Slabbaert
painted A toebackje still lifein 1641
Cornelis van Poelenburch
(1594 - 12 August 1667) was a Dutch Golden Age landscape painter. Though his birthplace is unknown, a signed document survives in Utrecht where he is listed as six years old and the son of Simon van Poelenburch, a Catholic canon in Utrecht.He initially trained with Abraham Bloemaert, and his earliest signed paintings are from 1620.He traveled to Rome where he was influenced by Adam Elsheimer and became a founding member of the Bentvueghels. He counted a few cardinals under his patrons, and was called to England by Charles I of England, for whom he made small cabinet pieces. He returned to Utrecht where he later died just a few years after his old teacher Abraham Bloemaert.He painted mostly small landcapes with mythical or religious figures or passages, in a style that would later be evident in some of the works of Claude Lorraine. His "most important and successful" pupils were Daniël Vertangen, Dirck van der Lisse, François Verwilt, and Jan van Haensbergen. Arnold Houbraken claimed that his best pupil was Joan vander Lis from Breda (not Dirk vander Lis from The Hague). Houbraken then mentioned Vertangen, Verwilt, Warnard van Rysen from Bommel, and Willem van Steenree, a nephew. The RKD also mentions Laurens Barata.