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
   32 33 34 35 36 37 38 39 40 41  
 
 Prev Artist   Next Artist 
John Constable The Valley Farm oil painting


The Valley Farm
mk87 1835 Oil on canvas 147.3x125cm London,Tate Gallery
Painting ID::  33924 		John Constable
The Valley Farm
mk87 1835 Oil on canvas 147.3x125cm London,Tate Gallery
   
   
     
John Constable The Grove,or the Admiral-s House Hampstead oil painting


The Grove,or the Admiral-s House Hampstead
mk138 1821/22 Oil on canvas 60x50cm
Painting ID::  38583 		John Constable
The Grove,or the Admiral-s House Hampstead
mk138 1821/22 Oil on canvas 60x50cm
   
   
     
John Constable Golding Constable-s Flower Garden oil painting


Golding Constable-s Flower Garden
mk141 1815 Oil on canvas
Painting ID::  38752 		John Constable
Golding Constable-s Flower Garden
mk141 1815 Oil on canvas
   
   
     
John Constable Golding Constable-s Kitchen Garden oil painting


Golding Constable-s Kitchen Garden
mk141 1815 Oil on canvas
Painting ID::  38753 		John Constable
Golding Constable-s Kitchen Garden
mk141 1815 Oil on canvas
   
   
     
John Constable A Study for The Leaping Horse oil painting


A Study for The Leaping Horse
mk141 1824-25 Oil on canvas
Painting ID::  38754 		John Constable
A Study for The Leaping Horse
mk141 1824-25 Oil on canvas
   
   
     
         32  33  34  35  36  37  38  39  40  41   
Prev Artist       Next Artist     
     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

Xiamen China Wholesale Stretched Oil Paintings Wholesale Picture Frames,Photo Frames, Moulding Beveled Mirrors

http://www.chinaoilpainting.com

China Oil Painting Studio Team