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 :. | Stour Valley and the church of Dedham | Old Sarum | Flowers in a glass vase, study | Cloud study | Rainstorm over the sea |
Related Artists:
Gioacchino Toma
Italian , Galatina 1836 - Napoli 1891 Italian painter. He was orphaned at the age of six and spent an unhappy childhood and adolescence in convents and poorhouses; these experiences would later provide subjects for his paintings. He was first taught drawing at the art school in the hospice for the poor in the Adriatic town of Giovinazzo, but in 1855 he moved to Naples, where he worked for an ornamental painter named Alessandro Fergola. In 1857 he was mistakenly arrested for conspiracy and exiled to Piedimonte d'Alife, 60 km from Naples, where he was initiated into the secret society of the Carbonari by some local liberal aristocrats who also became his first patrons. His paintings for them were mainly still-lifes, largely in the traditional Neapolitan style. On his return to Naples in 1858 he became a student at the Accademia di Belle Arti, attending the classes of Domenico Morelli, who influenced such early works as Erminia (1859; Naples, Pal. Reale). Toma fought for two years with Garibaldi in the campaign for the unification of Italy, then returned to painting,
Barnaba Da Modena
active in Genoa and Pisa 1361-1383 was an Italian painter of the mid-14th century Lombardy. There is a painting by him in the church of San Francesco in Alba. A Virgin and Child once in Frankfort, was painted in a Byzantine style and is currently located at the Museum of Fine Arts in Boston,
James Holland
1799-1870 British English painter. As a boy he was employed for seven years to paint flowers on pottery in the factory of John Davenport ( fl 1793; d 1848) of Longport. In 1819 Holland moved to London, where he continued at first to work as a pottery painter but also undertook watercolours of flowers and natural history subjects, exhibiting his works at the Royal Academy from 1824. After 1828 oil paintings predominated over watercolours in the many pictures that he exhibited at the Royal Academy, the Society of Painters in Water-Colours (of which he was made an associate in 1835), the British Institution and the Society of British Artists. He travelled to Paris in 1831 and subsequently made repeated tours of the Continent. Buildings in European cities now became his favourite subject, and above all, scenes of Venice, which he first visited in 1835; his Venetian views have sometimes been confused with those by Richard Parkes Bonington. In 1837 he was commissioned by the Landscape Annual to make drawings in Portugal, which were engraved in the issue for 1839. He travelled again to Venice in 1845, 1851 and 1857, making sketches en route of the Low Countries, France, Switzerland and Austria. Other subjects favoured by Holland were Blackheath and Greenwich (both London), where he lived from 1830 to 1845. He was renowned for his fluent draughtsmanship and for his brilliant colouring in both oils and watercolours, making liberal use of gouache in the latter. The contents of his studio were auctioned at Christie's, London, on 26 May 1870.