1684-1721 Antoine Watteau Art Locations He is best known for his invention of a new genre, the fete galante, a small easel painting in which elegant people are depicted in conversation or music-making in a secluded parkland setting (see under FETE CHAMPETRE). His particular originality lies in the generally restrained nature of the amorous exchanges of his characters, which are conveyed as much by glance as by gesture, and in his mingling of figures in contemporary dress with others in theatrical costume, thus blurring references to both time and place. Watteau work was widely collected during his lifetime and influenced a number of other painters in the decades following his death, especially in France and England. His drawings were particularly admired. Documented facts about Watteau life are notoriously few, though several friends wrote about him after his death (see Champion). Of over two hundred paintings generally accepted as his work   Related Paintings of Jean-Antoine Watteau :. | Le Plaisir pastoral | Jupiter and Antiope (mk05) | Pilgrimage to the island of cythera | Assembly in a Park (mk05) | The Indiscretion |
Related Artists:
John Constable
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
Joseph Marie Vien
French Neoclassical Painter, 1716-1809 French painter, draughtsman and engraver. He was one of the earliest French painters to work in the Neo-classical style, and although his own work veered uncertainly between that style and the Baroque, Vien was a decisive influence on some of the foremost artists of the heroic phase of Neo-classicism, notably Jacques-Louis David, Jean-Fran?ois-Pierre Peyron, Joseph-Benost Suve and Jean-Baptiste Regnault, all of whom he taught. Both his wife, Marie-Therese Reboul (1738-1805), and Joseph-Marie Vien fils (1762-1848) were artists: Marie-Therese exhibited at the Salon in 1757-67
Bernardo Berlotto
1721-1780 Italian Bernardo Berlotto Gallery