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 :. | Boats on the Stour, Dedham Church in the background | Constable Seascape Study with Rain Cloud c.1824 | The jumping horse | Clouds | The Cornfield |
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Ecce Homo
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art. The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem. But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
Eugene Louis Boudin
(12 July 1824 - 8 August 1898) was one of the first French landscape painters to paint outdoors. Boudin was a marine painter, and expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire, and Corot who, gazing at his pictures, said to him, "You are the master of the sky." Born at Honfleur, France, he worked in a small art shop where Claude Monet displayed his art work Le Havre and Honfleur across the estuary of the Seine. But before old age came on him, Boudin's father abandoned seafaring, and his son gave it up too, having no real vocation for it, though he preserved to his last days much of a sailor's character, frankness, accessibility, and open-heartedness. In 1835, his family moved to Le Havre, where his father established himself as stationer and frame-maker. He began work the next year as an assistant in a stationery and framing store before opening his own small shop. There he came into contact with artists working in the area and exhibited in his shop the paintings of Constant Troyon and Jean-François Millet, who, along with Jean-Baptiste Isabey and Thomas Couture whom he met during this time, encouraged young Boudin to follow an artistic career. At the age of 22 he abandoned the world of commerce, started painting full-time, and traveled to Paris the following year and then through Flanders. In 1850 he earned a scholarship that enabled him to move to Paris, although he often returned to paint in Normandy and, from 1855, made regular trips to Brittany. The Beach at Villerville, 1864. Eugene Boudin. Oil on canvas. National Gallery of Art, Washington DC. (Zoomview) Rivage de Pontrieux, Cotes-du-Nord. 1874. Eugene Boudin. Landscape with Sunset. 1880-1890. Watercolour. Musee d'Orsay, Paris Berck, Fishermen at Low TideDutch 17th century masters profoundly influenced him, and on meeting the Dutch painter Johan Jongkind, who already made his mark in French artistic circles, Boudin was advised by his new friend to paint outdoors (en plein air). He also worked with Troyon and Isabey, and in 1859 met Gustave Courbet who introduced him to Charles Baudelaire, the first critic to draw Boudines talents to public attention when the artist made his debut at the 1859 Paris Salon. In 1856/57 Boudin met the young Claude Monet who spent several months working with Boudin in his studio. The two remained lifelong friends and Monet later paid tribute to Boudines early influence. Boudin joined Monet and his young friends in the first Impressionist exhibition in 1874, but never considered himself a radical or innovator. Boudines growing reputation enabled him to travel extensively in the 1870s. He visited Belgium, the Netherlands, and southern France, and from 1892 to 1895 made regular trips to Venice. He continued to exhibit at the Paris Salons, receiving a third place medal at the Paris Salon of 1881, and a gold medal at the 1889 Exposition Universelle. In 1892 Boudin was made a knight of the Legion d'honneur, a somewhat tardy recognition of his talents and influence on the art of his contemporaries. Late in his life he returned to the south of France as a refuge from ill-health, and recognizing soon that the relief it could give him was almost spent, he returned to his home at Deauville, to die within sight of Channel waters and under Channel skies.
John Smibert
1688-1751 John Smibert Gallery John Smybert (or Smibert) (1688 - 1751), Scottish American artist, was born in Edinburgh and died in Boston, Massachusetts. He studied under Sir James Thornhill, and in 1728 accompanied Bishop Berkeley to America, with the intention of becoming professor of fine arts in the college which Berkeley was planning to found in Bermuda. The college, however, was never established, and Smybert settled in Boston, where he married in 1730. In 1731 he painted "Dean George Berkeley and His Family," also called "The Bermuda group", now in the Yale University Art Gallery, Yale University, a group of eight figures; it is maintained that the person furthest to the left is actually the artist himself. He painted portraits of Jonathan Edwards and Judge Edmund Quincy (in the Boston Art Museum), Mrs Smybert, Peter Faneuil and Governor John Endecott (in the Massachusetts Historical Society), John Lovell (Memorial Hall, Harvard University), and probably one of Sir William Pepperrell; and examples of his works are owned by Harvard and Yale Universities, by Bowdoin College, by the Massachusetts Historical Society, and by the New England Historical and Genealogical Society. Portrait of Edmund Quincy, attributed to John Smybert Plaque at Granary Burying Ground in Boston commemorating SmybertBetween 1740-42, he served as architect for the original Faneuil Hall, which he designed in the style of an English country market. The hall burned down in 1761 but was restored, and then in 1806 greatly expanded and modified by Charles Bulfinch. His son Nathaniel was also a painter. Smybert lies in an unmarked grave in the Granary Burying Ground in Boston.