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 :. | A boat passing a lock | The Stour-Valley with the Church of Dedham | Road to The Spaniards | Flatford Lock 19April 1823 | The path to the church |
Related Artists:
POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,
Karl Heffner
painted Am Ufer in 1849 - 1925
Eglon van der Neer
(1635/36, - May 3, 1703), was a Dutch painter of historical scenes, portraits and elegant, fashionable people, and later of landscapes. Van der Neer was born in Amsterdam and was probably first taught by his father, Aert van der Neer, who married in Amsterdam in 1629, coming from Gorinchem. Eglon had a least five brothers and sisters, who were baptized in the Nieuwe Kerk between 1640 and 1650. He took lessons from Jacob van Loo, who was then one of the foremost figure painters in Amsterdam. Around 1654 Van der Neer, who probably had just finished his education with Van Loo, traveled to Orange, Vaucluse in the South of France and entered the service of Friedrich von Dohna (1621-1688), Governor of the Principality of Orange. Van der Neer stayed for three or four years in Orange and returned to Amsterdam by the end of 1658. There he married in February Maria Wagensvelt, the daughter of a wealthy Rotterdam notary. In 1663 Van der Neer and his family moved to Rotterdam, where Adriaen van der Werff became his student. He stayed in Rotterdam until his wife died in 1677. In 1679 he moved to The Hague and in 1680 he became a member of the Confrerie Pictura there. Later that year he moved again, taking up his residence at Brussels, where he married the miniature painter Marie Du Chastel in the following year. She bore him nine children.