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 :. | London from Greenwich Park | Sea | The Fighting Temeraire | Beside the Nusikao | Rose and gray |
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John Hamilton Mortimer
ARA (1740-1779) was a British Neoclassical figure and landscape painter and printmaker, known for romantic paintings set in Italy, works depicting conversations, and works drawn in the 1770s portraying war scenes, similar to those of Salvator Rosa. Mortimer became President of the Society of Artists in 1774, five years before his death, at age 39. John Hamilton Mortimer was born on 17 September 1740 at Eastbourne. Not much is known about his family, other than that his father was a customs officer, a dealer in flour and owner of several mills. By 1757, while he was still young, he was studying in London at the Duke of Richmond's Academy. During this time he became a friend of Joseph Wright, a fellow student at the Academy - a friendship which would endure throughout Mortimer's life. Mortimer is also known to have had some professional relationship with the artist Samuel Ireland, who was involved with etching Mortimer's work. At the St Martin's Lane Academy his fellow students included Thomas Jones and William Pars. In 1759 Mortimer won a first prize for a study after Michelangelo's Bacchus and a second prize for a life drawing. He began to display his works on a regular basis from the early 1760s onwards. He became an active member of the Society of Artists and President of the Society in 1774.
SIBERECHTS, Jan
Flemish Baroque Era Painter, 1627-1703 Flemish painter, active in England. He was the son of the sculptor of the same name and became a master in the Guild of St Luke in Antwerp by 1648. He married in 1652 and moved to England sometime between 1672 and 1674.
Jacopino del Conte
Italian Painter, ca.1510-1598 was an eminent Italian Mannerist painter, active in both Rome and Florence. A native of Florence, Jacopino del Conte was born the same year as another Florentine master Cecchino del Salviati (whom Conte outlived by 35 years) and, like Salviati and a number of other painters, he initially apprenticed with the influential painter and draftsman Andrea del Sarto. Conte's first frescoes, including Annunciation to Zachariah (1536), Preaching of Saint John the Baptist (1538), and Baptism of Christ (1541) were in the Florentine-supported Oratory of San Giovanni Decollato, located in Rome. The Preaching fresco was based on a drawing by Perin del Vaga. In 1547?C48, in collaboration with Siciolante da Sermoneta, Conte completed the fresco decoration of the chapel of San Remigio in San Luigi dei Francesi. In 1552, he painted another work for the San Giovanni Decollato Oratory, the altarpiece Deposition, whose designs are sometimes attributed to Daniele da Volterra.