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 :. | View of Malvern Hall,Warwickshire | Weymouth Bay (mk09) | Hampstead Heat | Constable The Cornfield of 1826 | Zirruswolken |
Related Artists:
Alhed Larsen
Alhed Maria Larsen nee Warberg (7 April 1872, Heden near Faaborg - 31 August 1927, Odense), the wife of Johannes Larsen, was one of the Fynboerne or "Funen Artists" who lived and worked on the Danish island of Funen. Alhed Larsen was the daughter of Albrecht Christoffer Warberg, who managed the Erikshåb estate in the south of Funen. The estate became an early meeting place for the artists who later became known as the Fynboerne. As early as 1885, Larsen began to have painting lessons with Fritz Syberg and she became a friend of Johannes Larsen, whom she married in 1898, and of Peter Hansen. Anna Syberg, Hansen's sister, Marie Schou and Christine Swane, Johannes Larsen's sister, became lifelong companions. Ahled Larsen appears to have been a central figure for the Funen Painters, frequently acting as hostess. Alhed Larsen had also had drawing lessons from her uncle Ludvig Brandstrup with whom she stayed in Copenhagen where she worked as a porcelain decorator at the Royal Copenhagen factory from 1890 to 1893. When she finally married Johannes Larsen in 1898, the couple moved to Kerteminde in north-east Funen where they soon built their new home, Mollebakken, on the outskirts of the town. The house was extended on several occasions, becoming one of the most beautiful artists' homes in the country. With its 16 bedrooms, it served as a central meeting place for the Funen Painters and their friends, in the caring hands of Alhed Larsen.
Hermann Nigg
painted Nigg Karl Lueger in historischem Kostum in 1876
Lorenzo Costa
1460-1535 Italian Lorenzo Costa Locations Italian painter of the Ferrarese and Bolognese schools. Trained in the manner of such painters as Tura and Cossa, he modified the strident Ferrarese style when he became a partner of Francia. Among his paintings are the Madonna and Child with the Bentivoglio Family and the Triumphs of Petrarch in San Giacomo Maggiore, the Madonna with Saints in San Petronio, and the Madonna in San Giovanni in Monte, all in Bologna. His Three Saints is in the Metropolitan Museum.