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

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John Constable Brighton Beach 12 june 1824 oil painting


Brighton Beach 12 june 1824
mk82 oil on paper 12x29.7
Painting ID::  33156
John Constable
Brighton Beach 12 june 1824
mk82 oil on paper 12x29.7
   
   
     

John Constable Brighton Beach oil painting


Brighton Beach
mk82 c.1824 oil on paper laid on canvas 23.8x29.3
Painting ID::  33157
John Constable
Brighton Beach
mk82 c.1824 oil on paper laid on canvas 23.8x29.3
   
   
     

John Constable Rainstorm over the sea oil painting


Rainstorm over the sea
mk82 c.1824-28
Painting ID::  33158
John Constable
Rainstorm over the sea
mk82 c.1824-28
   
   
     

John Constable Coast scene,Brighton oil painting


Coast scene,Brighton
mk82 c.1824-28
Painting ID::  33159
John Constable
Coast scene,Brighton
mk82 c.1824-28
   
   
     

John Constable A storm off the coast of Brighton oil painting


A storm off the coast of Brighton
mk82 1824 oil on paper laid on card 14.4x19.3
Painting ID::  33160
John Constable
A storm off the coast of Brighton
mk82 1824 oil on paper laid on card 14.4x19.3
   
   
     

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     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

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