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 :. | The Valley of the Stour at Sunset 31 October 1812 | Zirruswolken | A ploughing scene in Suffolk | The Flower Garden at East Bergholt House,Essex | Road to The Spaniards |
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William Blamire Young
English Australian artist . 1862-1935 known as Blamire Young, was an English Australian artist. Young was born at Londesborough, Yorkshire, the second son of a family of 12. His father, Colonel Young, came of prosperous yeoman stock. Blamire Young was educated at the Forest School, Walthamstow, where he received a classical training, and going on to Cambridge University specialized in mathematics. That he completed his course with no better than third-class honours was no doubt partly caused by his discovery of the print collection in the Fitzwilliam Museum, and his association with the Cambridge Fine Art Society. It had been intended that he should become a clergyman, but Young felt that he had no vocation for that work and obtained the position of mathematical master at Katoomba College, Katoomba, New South Wales, which had been founded by John Walter Fletcher in 1884. Young remained at the school for eight years. In his spare time he practised painting, and meeting Phil May received some instruction from him in painting in oil. In 1893, he returned to England and after working for a few months under Hubert von Herkomer, became associated with James Pryde and William Nicholson in poster work. In 1895 Young returned to Australia and with the Lindsay brothers and Harry Weston did some excellent posters. But the field was limited and many years of poverty followed, during which a certain amount of writing was done for the press. He began exhibiting at the Victorian Artists' Society, but sales were few and the one-man show was then unknown. During his visit to England he had married Mabel Sawyer, an expert wood-carver, and while the lean period lasted Mrs Young helped to keep the house going by executing commissions for Melbourne architects. It was not until 1911 that the appreciation of Young's art really began to be shown. In that year he held an exhibition at Melbourne of small pictures, some of which had similar qualities to the Japanese coloured wood-cuts of the eighteenth century. Sales were good, partly because the prices were low, and the artist was sufficiently encouraged to hold an exhibition at Adelaide. This was both an artistic and a financial success, other shows followed in Melbourne and Sydney, and at last, in his fiftieth year, Young's reputation as an artist was established. In 1912 he sailed for Europe and after a stay in Spain settled in England. Eighteen months later in August 1914 his first show, opened at the Bailey Galleries. All the arrangements had been made and the pictures hung when war broke out. Young had been a good marksman in his youth, and for three years worked as an instructor in musketry and machine-gunnery. Immediately after the war he took up his painting again and exhibited at the Academy and the Royal Society of British Artists. Back in Australia in 1923 Young established himself at Montrose in the hills about 20 miles east of Melbourne. He acted as art critic for the The Herald and held occasional one-man shows.
Paul Bril
Flemish Baroque Era Painter, ca.1554-1626 Paul (1554-1626) and Mattheus (1550-1583) Brill (or Bril) were brothers, both born in Antwerp, who were landscape painters who worked in Rome after earning papal favor. They are also described as painters of capricci (whims or fancies) or vedute ideate or veduta di fantasia, with typical rustic hills with a few ruins. Mattheus began work on several frescoes in Rome from 1570 onwards, and his work includes the Vatican Seasons. Mattheus died young, and his brother continued his work around 1574. Paul painted frescoes such as the landscapes in the Casino Rospigliosi (Rome), and The Roman Forum, which showed this site for what it had become: a slum for squatters and pasture for livestock (so much so that the place was nicknamed Campo Vaccino, or The Cowfield). His masterpiece may be a fresco in the Clementine Hall of the Vatican. Paul also did engravings and small cabinet paintings on copper, some of which are signed with a pair of spectacles (a pun on the French word brilles, spectacles). Some of these were collaborations with Johann Rottenhammer, who according to a dealer letter of 1617 painted the figures in Venice and then sent the plates to Rome for Bril to complete the landscape. He collaborated with his friend Adam Elsheimer, who he both influenced and was influenced by, on one painting (now Chatsworth House)
Jacob Gerritsz Cuyp
1594-1652 Dutch Jacob Gerritsz Cuyp Locations Painter and draughtsman. Probably taught by his father, he entered the Guild of St Luke in Dordrecht in 1617, the same year that he executed an important commission to portray the masters of the Holland Mint (Dordrecht, Mus. van Gijn). He was the Guild bookkeeper in 1629, 1633, 1637 and 1641 and, according to Houbraken, led Dordrecht fine painters in their separation from the Guild in 1642. Jacob married Aertken van Cooten from Utrecht in 1618; his only child, (3) Aelbert Cuyp, was born two years later.