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 :. | Stonehenge | A Vignette | A Boat at the Sluice | Hampstead Heath,sun setting over Harrow 12 September 1821 | Branch Hill Pond |
Related Artists:
Mattheus Terwesten
Mattheus Terwesten (1670-1757) was a Dutch painter of portraits, architectural, and historical themes. He was court painter to Frederick William I of Prussia and professor of the art academy in Berlin. Mattheus Terwesten studied with his brother Augustinus Terwesten, Willem Doudyns, and Daniel Mijtens the Younger. In 1695 he traveled via Berlin to Rome, where he stayed until 1699. In Rome he became a member of the painters' circle known as the Bentvueghels, where he earned the nickname "Arend", or eagle. In 1710 he joined his older brother Augustinus and younger brother Ezaias, and when Augustinus died in 1711, he succeeded him as court painter in Berlin, while Ezaias went to Italy, where he married and settled permanently. His pupils were Herman Diederik Cuipers, Pieter van Cuyck (I), Jan van Gool, Johan Graham, Hendrik van Hulst, Jacob van Nachenius, Andries Storck, and his two sons Augustinus (II) and Pieter Terwesten.
Maratta, Carlo
Italian Baroque Era Painter, 1625-1713 was an Italian painter of the High Baroque period, active mostly in Rome. Born in Camerano, then part of the Papal States. He came as a boy of 12 to apprentice in the studio of Andrea Sacchi. Like Sacchi, his paintings have a classicizing tone, inspired by the works of the great painters from Parma and Bologna: Carracci, Guercino, and Lanfranco. He developed a close relationship with Sacchi till the death of his master in 1661. He worked alongside Francesco Cozza, and Domenico Maria Canuti in the decoration of the Palazzo Altieri. His first prominent work is an Adoration of the Shepherds for San Giuseppe die Falegnami in 1650. He came to establish one of the most prominent art studios in Rome of his time. Other major works are the The Mystery of the Trinity Revealed to St. Augustine (c. 1655) painted for the church of Santa Maria dei Sette Dolori, The Appearance of the Virgin to St. Philip Neri (c. 1675) now in the Pitti Palace of Florence, The Virgin with Saints Carlo Borromeo and Ignatius of Loyola and Angels (c. 1685) for the church of Santa Maria in Vallicella, and The Assumption of the Virgin with Doctors of the Church (1689) for Santa Maria del Popolo, . His numerous depictions of the Virgin earned him the nickname Carluccio delle Madonne (Little Carlo of the Madonnas). The style of Maratta is a classicized Baroque, more restrained and composed than the styles of Cortona and Carracci, thus more allied to the traditions of Sacchi, Albani, and Reni. He was one of the artists favored by Giovanni Bellori. Maratta was known for his insightful portraiture. In 1650, Maratta was introduced to pope Alexander VII, who commissioned many paintings including one of his greatest works, a painting of Constantine destroying the idols for the Baptistry of the Lateran. This work brought Maratta increased fame in the Vatican, and in 1704 Maratta was knighted by pope Clement XI. Other works include an altarpiece in the San Francesco Saverio Chapel of the Church of the Gesu, in the right transept. In 1679 or 1680, a daughter, Faustina Maratti Zappi was born to Maratta by a mistress,
PARENZANO, Bernardino
Italian painter, Paduan school (b. ca. 1450, Parenzo, d. ca. 1500, Vicenza).