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 :. | Bowleaze Cove and Jordon Hill | Das Stour-Tal mit der Kirche von Dedham | Old Sarum | Der Heuwagen, Studie | Old Sarum |
Related Artists:
Theodore Roussel
English Painter, 1847-1926 English painter and etcher of French birth. He was born and educated in France and settled in England in 1878, when he quickly established a reputation. Largely self-taught, his few extant early paintings show an eclectic style that combines the techniques of the Old Masters, which he studied in detail, with the subject-matter of modern urban life. In 1885 he was introduced to James McNeill Whistler, his neighbour in Chelsea, London, and in consequence a lifelong friendship was formed. As Roussel was a member of Whistler's London circle his work in watercolour and oil was influenced by the latter in style and choice of subject-matter. His oft-quoted remark that he was a 'pupil of Whistler' is, however, belied by his frequently distinct style, as seen in such paintings as the Reading Girl (1886-7; London, Tate). In 1888 Whistler introduced him to the techniques of etching and drypoint, resulting in such etchings as the Sign of the 'White Horse', Parson's Green (c. 1893-4; see Rutter, pl. xxx). For the remainder of his life he relentlessly pursued the medium, even, like Whistler, designing his own special frames. Always fascinated by the theoretical and practical nature of colour science, he constantly experimented and was an early pioneer of the technique of colour etching in England, producing such works as Dawn.
Nandkishor Soni
1879
Aristide Maillol
1861-1944 Banyuls-sur-Mer,was a French Catalan sculptor and painter. Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications, his enrollment in the Ecole des Beaux-Arts was accepted in 1885, and he studied there under Jean-Leon Gerome and Alexandre Cabanel. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin. Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and esthetic quality gained him recognition for renewing this art form in France. He began making small terra cotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry. The subject of nearly all of Maillol's mature work is the naked female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore and Alberto Giacometti, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II. His important public commissions include a 1912 commission for a monument to Cezanne, as well as numerous war memorials commissioned after World War I. He died in Banyuls at the age of eighty-three, in an automobile accident.