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
   48 49 50 51 52 53 54 55 56 57  
 
 Prev Artist   Next Artist 
John Constable Wolken-Studie oil painting


Wolken-Studie
1822(1822) Medium oil on paper Dimensions 37 x 49 cm cyf
Painting ID::  91127 		John Constable
Wolken-Studie
1822(1822) Medium oil on paper Dimensions 37 x 49 cm cyf
   
   
     
John Constable Bootsbau in Flatford oil painting


Bootsbau in Flatford
1815(1815) Medium oil on canvas Dimensions 51 X 62 cm cyf
Painting ID::  91969 		John Constable
Bootsbau in Flatford
1815(1815) Medium oil on canvas Dimensions 51 X 62 cm cyf
   
   
     
John Constable Die Kathedrale von Salisbury vom Garten des Bischofs aus gesehen oil painting


Die Kathedrale von Salisbury vom Garten des Bischofs aus gesehen
1823(1823) Medium oil on canvas Dimensions 87,6 X 111,8 cm cjr
Painting ID::  92503 		John Constable
Die Kathedrale von Salisbury vom Garten des Bischofs aus gesehen
1823(1823) Medium oil on canvas Dimensions 87,6 X 111,8 cm cjr
   
   
     
John Constable Bowleaze Cove and Jordon Hill oil painting


Bowleaze Cove and Jordon Hill
1816 - 17 Type Oil on canvas Dimensions 53 cm x 75 cm cyf
Painting ID::  94964 		John Constable
Bowleaze Cove and Jordon Hill
1816 - 17 Type Oil on canvas Dimensions 53 cm x 75 cm cyf
   
   
     
John Constable Salisbury Cathedral from the Bishop s Grounds oil painting


Salisbury Cathedral from the Bishop s Grounds
1823 (1823) Dimensions 87.6 cm x 111.8 cm cyf
Painting ID::  94969 		John Constable
Salisbury Cathedral from the Bishop s Grounds
1823 (1823) Dimensions 87.6 cm x 111.8 cm cyf
   
   
     
         48  49  50  51  52  53  54  55  56  57   
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