English Romantic Painter, 1775-1851 Joseph Mallord William Turner (23 April 1775 ?C 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style is said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321) Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God - a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena. Rain, Steam and Speed - The Great Western Railway painted (1844).His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. (Piper 321) One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.  Related Paintings of Joseph Mallord William Turner :. | Black Circle | Impression of Number three | Sunset | Leuchtraketen bei hohem Seegang | Night |
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William Morris Davis
February 12, 1850 - February 5, 1934,Davis, who was born in Philadelphia, Pennsylvania, was educated at Harvard. He returned to teach there in 1877 after a period as a meteorologist in Argentina and as an assistant with the North Pacific Survey. He became professor of physical geography in 1890 and of geology in 1898. Davis is acknowledged as the founder of geomorphology, the study of landforms. In his The Rivers and Valleys of Pennsylvania (1889) he first introduced what later became known as the Davisian systems of landscape analysis. His aim was to provide an explanatory description of how landforms change in an ideal situation and his most important contribution to this was his introduction of the cycle of erosion into geographical thought. He proposed a complete cycle of youth, maturity, and old age to describe the evolution of a landscape. In youth rivers occupy steep V-shaped valleys while in old age the valleys are broad. The end product would be a flat featureless plain he called a epeneplaine. This was an ideal cycle but in practice the cycle would invariably be interrupted by Earth movements. It was, nevertheless, strongly attacked by German geographers who objected to it on the grounds that it neglected such vital factors as weathering and climate in transforming the landscape. They also believed him to be undermining their argument that landforms could only be discovered by local fieldwork and the production of regional monographs. Davis also produced an influential work,
John Collier
English Classicist Painter, 1850-1934
Alfred Ordway
(1821 - 1897) was an American landscape and portrait painter, and one of the founding fathers of the Boston Art Club. Alfred was born in Roxbury, Massachusetts to mother Currier, and father Thomas Ordway on March 9, 1821. With his father being the cities' clerk, Alfred spent the majority of his childhood in Lowell, Massachusetts. His family can be traced back to the early 17th century when James Ordway settled in Dover, New Hampshire. Both his parents fought in the Revolutionary War, and his grandfather, Nehemiah Ordway, a physician in Amesbury, Massachusetts, was put in charge "to form and equip a company for Bunker Hill".