Greatest English Landscape Artist 19th Century Github,Landscapers 08012 Mod,Coastal Landscape Geography 36 - Tips For You

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19th-century � GitHub Topics � GitHub Famous 19th Century Artists & Painters British French American Artists Sculptors Find out more about the greatest 19th Century Painters, including Pablo Picasso, Vincent van Gogh, Rabindranath Tagore, Claude Monet and Gustav Klimt. The following is a list of notable English and British painters (in chronological order). This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.
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Ambitious and jealous by nature, it seems that he could not bear to feel that another could render any beauty of nature better than himself. Each one he tackled on his own ground till he had mastered him. Disguise after disguise he assumed and discarded before the real Turner at length appeared. But for all the contrast between them, Turner and Constable have this much in common. Together they stripped the scales of accumulated convention from artists' eyes and left them face to face with nature itself, and they are the founders of modern art.

For another naturalist artist, please see also George Stubbs What formal training he had was received at the Royal Academy Schools, but in fact he was mainly self-taught. One can well believe that the training at the Academy was not of much use to him, for at a very early age he knew precisely what he wanted to paint, and no one living could teach him how to do that.

But there was at least a tradition of strong vigorous handling of paint, which Reynolds had encouraged by his example. In the few portraits which he painted, Constable shows himself a follower, though not a very able one, of the Reynolds school, and it may well be that the freedom and boldness of handling, and the rich impasto of paint in his landscape do owe something to his academic training. For the rest, the earliest influences in his work were Gainsborough and the Dutch Realist landscape-painters , but these show little except in choice of subject.

The water-colours of Girtin were more important in farming his style, and some of his paintings after he had become acquainted with Girtin's work, such as the "Malvern Hall" National Gallery , show a large simplicity and breadth which was not in his earlier work. But, even setting aside the difference of medium, such a picture could not possibly be mistaken for a Girtin. The full fresh greens of the grass, the massiveness of the trees, and the general feeling of the picture are entirely Constable's own.

What Constable aimed at, above all, was to capture the freshness and sparkle of nature. Before his time no painters had dared to paint the full strength of nature's greens, and in the process of picture-making something of the life and scintillation of nature had always been lost.

It was in his small sketches painted in the open air that he first achieved this dewy freshness. In them the direct vigour of his disunited touches conveyed exactly the glitter of light and tremor of atmosphere which earlier painters had missed.

That he ultimately succeeded in preserving it in larger pictures painted in the studio was probably due to the example of Rubens's great landscape, "The Chateau de Steen", now in the National Gallery, but then in the possession of Constable's friend Sir George Beaumont , the connoisseur and amateur painter. From the foreground, which is painted in conventional browns, he had nothing to learn, but the distance and sky must have been a revelation to him of how the sense of light, air, and movement could be recorded on a large scale.

For his later pictures he made a full-sized sketch in oils, and then laid in the main masses of the finished picture in transparent monochrome in the Flemish manner, thus establishing the general effect of his picture before destroying the fresh surface of his canvas with solid paint. On this preparation he could work with something of the freedom of his first sketch from nature, and add to the general effect of light and shade the glancing flicker and gleam Landscape Artist Lily Kwong 60 of light on grass, leaf, and stream which gave his pictures their astonishing freshness.

He had a method, known in his own day as ' Constable's snow ', of putting on solid touches of pure white, which caught and broke up the light which fell on the pictures. These touches were then glazed with transparent greens and other colours, and a brilliance of broken colour was produced which would have been impossible in opaque paint. The effect when freshly painted must have been startling, but something of its original freshness has now gone.

The oils with which his glazes were diluted have yellowed with time, and consequently these touches, having lost their sparkle, tend to give rather a fussy appearance to many of his finished pictures. His sketches from nature and the large preliminary studies for his finished pictures a magnificent specimen of which is "The Leaping Horse" in the Victoria and Albert Museum have stood the test of time better, and it is in these that his genius can be best appreciated.

Nearly all later nineteenth-century landscape-painting derives something from Constable's example, but his outlook and methods have been more intensely studied and developed in France than in England. In , his "Hay Wain" National Gallery was exhibited at the Paris Salon, where it created an immediate sensation and was awarded a gold medal. The ultimate extent of his influence on French painting is difficult to estimate, but it was certainly great, as has been generously acknowledged by French artists, especially Delacroix, who spoke of him as 'le pere de notre ecole de paysage'.

His work was the direct precursor of the Barbizon school of landscape , and it paved the way for Impressionism by the luminosity of its colour and loose broken touch. See also: Impressionist Landscape Paintings.

In England isolated painters may be considered to be of Constable's school, but the harvest which he sowed has been mainly left to others to reap, and English painters have been no more than gleaners in the field of his genius. Yet he did more than any other to form the vision of common men, and if today his pictures seem sometimes a little tame it is because we have learned to see so much with his eyes that they are no longer a revelation to us.

No one has ever captured the feeling of English weather as he did, or painted so lovingly and unforgettably the charm of the English countryside and the humble beauty of common things.

For biographical details, see John Constable. Joseph Mallord William Turner Turner, perhaps the greatest artist England has produced, has never been so much loved as Constable, the grandeur and isolation of his imagination setting him apart from mankind as much as the simplicity and humility of Constable has made him at one with it.

Born in Maiden Lane, Convent Garden, Turner was the son of a barber, who took a pride in the early signs of his son's genius and encouraged him in his work. It is thought that he may have studied first under Pallice, a floral-painter, in the Soho Academy. His education was certainly varied.

In he was at Coleman's School at Margate, he worked for a time with James Malton , the architectural draughtsman, and he coloured prints for John Raphael Smith, the engraver. For a while he was a student at the Royal Academy Schools, and he was one of the young painters who Landscape Artist Canada Jobs copied water-colours at the house of Dr.

He exhibited at the Academy for the first time in , and continued to do so with great regularity till , the year before his death. Into this period of sixty years he crowded an almost incredible amount of work, and the development of his genius can be studied year by year and almost day by day in the huge number of Landscape Artist Toronto Vessel pictures and sketches which he left to the nation. For an appreciation of his life and scintillating landscapes, see JMW Turner.

The immediate result of Turner's influence was not great, and his few imitators are of small account. Indirectly his influence has been far-reaching. The general raising of the pitch of colour in modern painting owes perhaps even more to him than to Constable. The affinities between his work and that of the French impressionists are obvious, and their debt to his work has been acknowledged, but that the brilliance of colour in the English Pre-Raphaelites also derived to some extent from him is seldom realized, but is almost certainly a fact.

Through these two movements, so unlike one another in many ways, his influence has become part of the general heritage of modern painting, and artists to whom the name of Turner is anathema only paint as they do because he painted as he did.

The historical importance of his work is likely to become increasingly recognized with the passage of time. Even now his work is comparatively little known on the Continent, though many of his finest works have found their way to America. His work is scarcely represented in the great European galleries, and to many the name of Turner stands only for rather gaudily coloured sunsets.

But when the full range of his stupendous genius becomes generally known his position among the great masters will be assured. Note: For an explanation of some of the great landscapes by Turner, please see: Analysis of Modern Paintings Other 19th Century Landscape Painters Besides Turner and Constable, there were a number of other landscape-painters working in England during the first fifty years of the 19th century whose work, if of less importance in its bearing on the general trend of European painting, is scarcely less interesting artistically.

The names of John Crome , JS Cotman , RP Bonington , David Cox , Peter de Wint , and WJ Muller would be alone enough to make this period one of exceptional interest; but in addition there were many painters both in oils and water-colours whose work has an abiding charm which ensures it a permanent, though minor, position in the history of landscape-painting.

Richard Parkes Bonington As a link with the main movement of the century Richard Parkes Bonington ranks next in importance to Turner and Constable. He stands rather apart from the other English painters of his day in that he was trained in France and spent a great part of his life there. While in Paris he attracted the attention of Delacroix, on whose development he had some influence.

In spite of Bonington's French training it is difficult to find any signs of French inspiration in his landscape style which is quite personal and definitely English in its affinities, but he also painted small historical figure-subjects, and in these the influence of the French Romantic school is apparent.

The subjects of his landscapes are mostly French coast and river scenes, but in he visited Italy and painted a group of pictures in Venice. The characteristics of his landscapes are bright tone and colour, great clarity of atmosphere, and a most refined and delicate handling of paint.

Bonington was only twenty-six when he died. Constable died at sixty-one, Turner at seventy-six, yet in this short career he produced work which may fairly be compared with theirs.

At twenty-six Turner had only just begun to find his feet as an oil-painter, Constable had scarcely passed out of the student stage. Bonington when he died was a mature painter, in the very forefront of the naturalistic movement in landscape.

It is useless to speculate on what he might have done if he had lived, but he had achieved enough in his short life to place him among the leaders of the English landscape School , and his death cut short a career as full of brilliant promise as that of Girtin, who died at the same age. His work in oils and water-colours is equally distinguished, and he shares with Constable the credit of helping to launch the French naturalistic landscape movement.

John Crome - The Norwich School of Landscape John Crome , who belongs to a slightly older generation, was the founder of the Norwich school of landscape painters , the first of the English provincial schools, the sudden rise of which constitutes one of the most interesting episodes in the whole history of English painting. The eastern counties, for some reason unexplained, have always been prolific in artistic genius from the time of the East Anglian illuminators in the first half of the fourteenth century onwards.

Possibly the close links between this part of England and Flanders may do something to explain this, and certainly Gainsborough, Constable, and Crome all drew inspiration from the painters of the Low Countries.

In , he was apprenticed to a coach and sign-painter, Francis Whisler, from whom he learned the use of palette and brushes.

That was all the professional training he ever had, but he is known to have copied Dutch and Flemish paintings in local collections, as well as Gainsborough's "Cottage Door", and these were his real masters. Early in his life Crome made the acquaintance of Robert Ladbrooke , at that time apprenticed to a printer, with whom in he founded the Norwich Society of Artists, consisting mainly of his own pupils.

In , Crome became its president, and he was a regular contributor to its exhibitions till , the year before his death. Crome's subjects were drawn chiefly from his own country-side, but he visited Cumberland, the Wye Valley, Weymouth, Paris, and Belgium, and painted some pictures of these places.

His art is distinguished by the large and simple dignity of its vision. His colour-schemes and subject-matter were often of the simplest, but to whatever he touched he gave a dignity and grandeur which owes nothing to the conventions of classic art.

He was in no way a revolutionary, but without extending the technical limitations of his predecessors he evolved an unmistakable style of his own as the result of his sincere study of nature. Wilson, Gainsborough, and Hobbema were his inspiration. For the art of Hobbema in particular he had a profound admiration, but it was really always nature that he loved, and the beauties which he found in Hobbema were largely of his own making.

The quality of his art is difficult to put into words. It was poetical but quite unliterary. No other painter, unless it be Jean-Francois Millet, has conveyed so well the friendly strength of the earth and the things that grow from it. Compared to Crome most other painters seem flimsy and unreal, but the reality of his pictures does not depend on an accurate description of externals and an exact rendering of visual truth.

Rather his pictures are records of mental reaction. From the ephemeral vision of the world he extracts the permanent essentials, and seems to paint things in themselves rather than effects on things. His art is filled with as deep a love of nature as Constable's, but it is of a different order. It may be put in this way: that while Constable loved the beauty of nature Crome loved nature itself.

The subject-matter of his pictures often has little sensuous charm, but from it he distils an austere spiritual beauty which enshrines the quiet forces of nature and leaves us with a sense of the divinity in common things.

In the oaks which he loved it is not their fresh greenness but their strength which he gives us, as in "The Poringland Oak" National Gallery. In his night-piece, "Moonlight on the Marshes of the Yare" National Gallery , he renders a spare and naked truth beyond anything which Van der Neer achieved.

But Crome does not always rise to these heights, and occasionally his love of Hobbema led him into a pettiness in the treatment of foliage, which was copied by his followers who could not enter into the real spirit of his genius.

John Sell Cotman The son of a linen-draper, he was at first put into his father's business, but soon showed so marked a talent for painting that his father consented to his going to London to study, about the year In , he returned to Norwich and was elected a member of the Norwich Society of Artists.

Later he moved to Yarmouth, where he became associated with Dawson Turner, whose archeological publications he illustrated with etchings , and in he returned to London and was appointed teacher of drawing in King's College School.

Much of Cotman's life was spent in the teaching of drawing and painting, and the paintings which he has left us were produced in the intervals of this wearying work, but they show little of the tiredness which might be expected. Drawing and water-colour painting were fashionable accomplishments, and much though one may regret that the time of artists like Crome and Cotman should have been wasted in this way, it is yet a fact that this demand for drawing-masters provided a livelihood for artists which they could not otherwise have found, and that in consequence the richness of the English school of landscape-painters owes much to these amateurs.

It was an age of great drawing-masters, and the very fact that their living depended on their teaching rather than their painting may have given them independence of outlook.

Another form of pot-boiling, the illustration of books of travel and archeology, also occupied much of Cotman's time. His archeological drawings and etchings are accurate records of buildings and places, but his reputation does not rest on them.

His real genius showed itself in the oil and water-colour paintings done for his own pleasure, and in these we have one of the rarest and most refined personalities in English art. The inspiration of several of his contemporaries, notably Crome, Turner, and Girtin, is to be seen in his work, but whatever he drew from others he transformed to an individual expression.

In both oils and water-colours he achieved equally happy results, and his work is marked by an unusual understanding of the special qualities of the particular medium in which he happened to be working, while in water-colour he had a gift of flat colour patterning unrivalled by other English water-colourists.

The "Wherries on the Yare" National Gallery is in his most Crome-like mode, but many of his finest paintings, such as "The Willows" and "The Waterfall", are in private collections.

Compared to the massiveness of Crome, Cotman's vision is fragile, but it has a genuine poetry, and the quality of his design and pigment confers an aristocratic distinction on his work which makes it a thing apart. The remaining painters of the Norwich school belong to an altogether lower category. Most of them have some charm and sincerity, but their work is the work of followers rather than original artists. Robert Ladbrooke, the friend and associate of 'Old Crome', was in no way his equal, nor was his son, John Bernay Crome , who imitated his father's style.

All Ladbrooke's sons followed their father's profession, as did Miles Edmund Cotman , who sometimes approached his father very closely. Several other members of the Cotman family were also painters, among whom JJ Cotman d. All these were painters of some interest, but their reputation has been somewhat overshadowed by the two leaders of the school. WJ Muller Two other landscape-painters in oil produced work which stands out well above the general high level of the time, WJ Muller and Peter de Wint.

Muller's work was very strong in handling and colour, and very varied in subject-matter. His paint occasionally suggests that he may have learned something from Constable, but his spirit is quite different. Much of his best work was executed in Greece and Egypt, and he knew how to make the most of strong Oriental colour. In these pictures he has something of the glamour of the French Orientalists, and some of them have a curiously prophetic suggestion of the early work of Frank Brangwyn.

He worked with the same vigorous gusto in both the oil and water-colour mediums, and his early death at the age of thirty-three was a loss to English painting almost equal to that of Girtin and Bonington. De Wint, though his reputation to-day rests mainly on his water-colours, which will be considered later, was a fine painter in oils.

His work in this medium is too often overlooked, but though inclined to be a little sombre and heavy in tone it has a fine and masculine sincerity, and if he had not painted in water-colours at all his oil-paintings would be enough to ensure him a position among the leading painters of his time. This side of his art is well represented in the Victoria and Albert Museum. Other early 19th Century Landscape Artists Turner, Constable, Crome, Cotman, Muller, and De Wint, these names sum up the best of English landscape-painting in oils during the first half of the nineteenth century.

Their work belongs to all time, but there were many other capable painters of landscape whose work belongs specially to their own age, and is likely ultimately to have only an historical and archeological interest. Prominent among these lesser men are Patrick Nasmyth , son of Alexander Nasmyth, also a landscape-painter, who painted rural scenes Claire Lord Landscape Artist Guitar in fresh colour, and a rather meticulous handling based on Hobbema, and Thomas Creswick , the painter of many simple transcripts of picturesque scenery.

Sir Augustus Wall Callcott painted landscapes based on classical schemes of composition which have a certain charm and atmosphere, and won him the nickname of 'the English Claude'.

Many of the painters of this time are now perhaps best remembered because the art critic John Ruskin wrote about them in the first volume of " Modern Painters ".

Clarkson Stanfield and David Roberts are examples. Stanfield, having begun life as a sailor, left the sea and took to scene-painting, and both these occupations left their mark on his pictures.

His knowledge of the sea and sky won Ruskin's approval, and the sincerity of his scenically conceived art is beyond question, but he had not the creative gifts to turn his great knowledge to great art. Roberts, who like Stanfield was at first a scene-painter, painted architecture with great accuracy and truth, but he lacked the imagination to make his pictures anything more than literal records.

Another scene-painter who made some reputation as a landscape-painter was Joseph W. Allen , one of the founders of the Society of British Artists, and William Shayer , WF Witherington , Alfred Vickers , William Collins , FR Lee , W Linton , G Cole , were other painters whose work contributed to the generally high level of landscape at this time.

John Martin has a place of his own. Starting life as an heraldic-painter, he later devoted himself to imaginative landscapes of which "The Plains of Heaven" is a typical example.

His work has some likeness to the more fantastic and melodramatic side of Turner's art, but though he had high aims they often led him into exaggeration and absurdity, and he cannot be regarded as much more than an interesting oddity. John Linnell sometimes painted subjects of the same kind, as in "The Eve of the Deluge" and "The Disobedient Prophet", but his subjects were usually rural, and painted in brilliant if sometimes rather hot and unpleasant colours.

Whatever his faults he had a distinct personality, and with Samuel Palmer , the water-colour painter, carried on the peculiar feeling of early nineteenth-century romanticism almost to the end of the century.

Watercolour painting has been exploited more extensively and successfully in England than in any other country, and the water-colourists of the early nineteenth century constitute one of the chief glories of English art. As we have seen, this school arose in the first place from the work of the topographical draughtsmen, which the demand for engraving of 'gentlemen's seats' called into existence in the eighteenth century. So in a sense its origin was accidental, but the attention of artists having once been directed to the medium, they began to find beauties in it which were worth cultivating for their own sake, and it would seem that there is something about water-colour which makes it particularly sympathetic to the English temper.

Most English artists have been instinctive rather than intellectual and the simplicity and directness of water-colour allow a greater spontaneity of expression than the slower and more elaborate methods of oil-painting. The second tradition embraces topographical artists, as well as painters of coastal scenes, seascapes, riverscapes, and other scenic views.

Orientalists, miniaturists, animaliers, equestrian artists and illustrators are also featured. Further artists will be added in due course. All suggestions welcome. National Gallery, London. Best English Painters Born Finest ever animalier and equestrian horse painter. Second President of Royal Academy. Like Samuel Palmer, a great Romantic.




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