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 :. | Salisbury cathedral from the bishop's garden | Rainstorm over the sea | Road to The Spaniards | Study of clouds at Hampstead | Landscape |
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was born at Citte di Castello in 1787. After having learned the rudiments of art in that town, he visited Rome at the age of seventeen years, and became a disciple of Camuccini, whom he afterwards imitated. After leaving Rome he painted religious subjects at Borgo San Sepolcro, Urbino, Pesaro, and Venice, from whence he retraced his steps to Rome; but as the climate did not suit him, he left that city in 1822 and returned to Citta di Castello. He became Director of the School of Painting at Cortona in 1835, and died in 1840.
ELINGA, Pieter Janssens
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