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 :. | Constable Weymouth Bay | Rainstorm over the sea | Road to the The Spaniards,Hampstead 2(9)July 1822 | Boat-building near Flatford Mill | Malvern Hall, |
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Jakob Mertens
Jakob Merten (August 11, 1809 - February 22, 1872) was a German Catholic theologian who was born in Wittlich. He studied theology in Trier, where in 1833 he received his ordination. Subsequently he became a chaplain in Trier, where he worked closely with Franz Peter Knoodt (1811-1889). From 1843 to 1868 he was a professor of philosophy at the Episcopal Seminary in Trier. Initially a prominent follower of Anton Genther's philosophy, Merten eventually abandoned Gentherianism as his career progressed. He was author of an essay on Gentherian philosophy titled Hauptfragen der Metaphysik in Verbindung mit der Speculation (Primary Questions of Metaphysics in Association with Speculation) (1840). Other noted works by Merten include: Grundriss der Metaphysik, (Outline of Metaphysics); 1848 Der selige Frings und sein Freund als Antigentherianer; 1852 Bemerkungen zur Metaphysik von Balmes, (Remarks on the Metaphysics of Balmes); 1859
Pinturicchio
Italian Early Renaissance Painter, 1454-1513 was an Italian painter of the Renaissance. He was born in Perugia, the son of Benedetto or Betto di Blagio. He may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturrichio was a paid assistant of Perugino. The works of the Perugian Renaissance school are very similar; and paintings by Perugino, Pinturicchio, Lo Spagna and a young Raphael may often be mistaken one for the other.
Frans van mieris the elder
Dutch Baroque Era Painter, 1635-1681 was a Dutch genre and portrait painter. The leading member of a Leiden family of painters, his sons Jan (1660-1690) and Willem (1662 C1747) and his grandson Frans van Mieris the Younger (1689 C1763) were also accomplished genre painters. Frans was the son of Jan Bastiaans van Mieris, a goldsmith, carver of rubies and diamond setter at Leiden. His father wished to train him to his own business, but Frans preferred drawing, and took service with Abraham Torenvliet, a glazier who kept a school of design. In his father's shop he became familiar with the ways and dress of people of distinction. His eye was fascinated in turn by the sheen of jewelry and stained glass; and, though he soon gave up the teaching of Torenvliet for that of Gerard Dou and Abraham van den Tempel, he acquired a manner which had more of the finish of the exquisites of the Dutch school than of the breadth of the disciples of Rembrandt. It should be borne in mind that he seldom chose panels of which the size exceeded 12 to 15 inches, and whenever his name is attached to a picture above that size we may surely assign it to his son Willem or to some other imitator. Unlike Dou when he first left Rembrandt, or Jan Steen when he started on an independent career, Mieris never ventured to design figures as large as life. Characteristic of his art in its minute proportions is a shiny brightness and metallic polish. The Music Lesson,National Museum of Serbia , BelgradeThe subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes; but he sometimes succeeded in homely incidents and in portrait, and not unfrequently he ventured on allegory. He repeatedly painted the satin skirt which Ter Borch brought into fashion, and he often rivalled Ter Borch in the faithful rendering of rich and highly-coloured woven tissues. But he remained below Ter Borch and Metsu, because he had not their delicate perception of harmony or their charming mellowness of touch and tint, and he fell behind Gerard Dou, because he was hard and had not his feeling for effect by concentrated light and shade. In the form of his composition, which sometimes represents the framework of a window enlivened with greenery, and adorned with bas-reliefs within which figures are seen to the waist, his model is certainly Dou.