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 :. | The Lock (nn03) | Dedham Vale | Constable The Cornfield of 1826 | The Chain Pier, Brighton | Srping East Bergholt Common |
Related Artists:
Charles Landelle
1812-1908 French painter. His father, a calligrapher and musician from Mayenne, moved to Paris in 1825 to take up a post as musician in the Tuileries. Ary Scheffer, whom Landelle met through his father's contact with the Orleans court, encouraged him to become a painter. He registered at the Ecole des Beaux-Arts on 2 October 1837 as a pupil of Paul Delaroche and made his debut at the Salon in 1841 with a Self-portrait (Laval, Mus. Vieux-Cheteau). His first success, Fra Angelico asking God for Inspiration , indicated a sentimental, religious tendency in his work, which alternated with pretty pictures of young girls. Charity. commissioned by Antoine Vivenel (1799-1862), was followed by Idyll and Elegy (untraced), which were bought by the dealer Adolphe Goupil on the opening day of the 1844 Salon. The contract to buy also included Goupil's right of first refusal on the reproduction of all Landelle's future work. Subsequently, he painted the Three Marys at the Tomb in the pious manner of Ary Scheffer and a sweet, angelic St Cecilia, commissioned in 1845 by the Prefect of the Seine, in which elements of the early Renaissance art seen by Landelle on a trip to Italy in 1845 combined with the soft, pale style common among some of his colleagues from the studio of Delaroche. He also painted religious works for St Roch (1850), St Germain l'Auxerrois (1856) and St Sulpice (1875) churches in Paris.
Jean-Franc Millet
French Realist Painter, 1814-1875
Howard Pyle
One of the great illustrators of the 19th century. American 1853-1911 was an American illustrator and writer, primarily of books for young audiences. A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy. In 1894 he began teaching illustration at the Drexel Institute of Art, Science and Industry (now Drexel University), and after 1900 he founded his own school of art and illustration called the Howard Pyle School of Illustration Art. The term the Brandywine School was later applied to the illustration artists and Wyeth family artists of the Brandywine region by Pitz (later called the Brandywine School). Some of his more famous students were Olive Rush, N. C. Wyeth, Frank Schoonover, Elenore Abbott, and Jessie Willcox Smith. His 1883 classic The Merry Adventures of Robin Hood remains in print to this day, and his other books, frequently with medieval European settings, include a four-volume set on King Arthur that cemented his reputation. He wrote an original work, Otto of the Silver Hand, in 1888. He also illustrated historical and adventure stories for periodicals such as Harper's Weekly and St. Nicholas Magazine.