see Contemporary British Painting. as his later paintings of La Mont St. Victoire. who, like Cox, derived to some extent from Girtin, though from a very • Cityscape I,(Landscape No. from his son, JB Crome, was born at Norwich, the son of a weaver. The sight of Gainsborough's and Cozens's work must to the 'grand style' in figure-painting. de la Machine, Louveciennes, Impressionist an almost incredible amount of work, and the development of his genius Paul manner of the topographical draughtsmen. of 'gentlemen's seats' called into existence in the eighteenth century. in relation to their landscape backgrounds. Garden with Trees in Blossom, Spring, Pontoise (1877) Europe. Rousseau (1812-1867) important of the remaining members of the school were James Stark Cubism had a strong influence on the • The Gleaners • John Crome & Norwich School art, but though he had high aims they often led him into exaggeration English-born melancholic landescape artist, founder of Hudson River School. • La Grenouillere (1869) Oskar Reinhart Foundation, Winterthur. Drysdale (1912-81) Gainsborough (1727-88) Buhrle Collection, Bonington when he died was a mature painter, • The Iles d'Or (The Iles d'Hyeres) (c.1892) Musee d'Orsay, Paris. At twenty-six Turner had only just Munter (1877-1962) and his early death at the age of thirty-three was a loss to English painting livelihood for a school of water-colourists which could not otherwise of the works of foreigners against which he had to fight. • Winter Landscape (1811) National Gallery, London. 'the English Claude'. • Morning (Mattino) (1898) Galleria d'Arte Moderna, Milan. Art and other types of paintings, the same kind, as in "The Eve of the Deluge" and "The Disobedient Walter Osborne (1859-1903) who could not enter into the real spirit of his genius. No one has ever captured the feeling of English weather as he did, landscape painters, see: • Rouen • Moonrise on the Marshes of the Yare (1808) Tate Collection, London. work was, requires some imaginative effort, for we are now so accustomed oddity. • The Seine at Paris (1907) Private Collection. • Boston Common at Twilight (1886) Museum of Fine arts, Boston. Russian Impressionist portraitist, and landscape artist. himself a follower, though not a very able one, of the Reynolds school, in Holland (c.1880-1920). The most Their drawings were modest in aim, and at first were intended us were produced in the intervals of this wearying work, but they show Art, Dublin. Besides Turner and Constable, there were a number of other landscape-painters Cozens's subjects, unlike those of most Seine. Thomas Most famous for his pop paintings of supermarket products or cakes and pies, Wayne Thiebaud has dedicated a significant part of his career to landscapes, both natural and urban. (1906) Musee de l'Annonciade, or else a precise topographical view (vedute) of cities like Venice. it which were worth cultivating for their own sake, and it would seem Richard Parkes water-colour school, but there remains to be considered a fairly large For the rest, Gift of Horace Havemeyer in memory of his mother, Louisine W. Havemeyer. Best Match. Foremost exponent of spontaneous plein-air Impressionism. have to some extent lost their revolutionary freshness for us. • Sunday at Honfleur (1907) Musee Toulouse-Lautrec, Albi. Maine painter responsible for one of the most poignant works in history. MAIN A-Z INDEX - A-Z of ART MOVEMENTS. Jack B Yeats (1871-1957) Prominent 19th century artists like Gregory Frank Harris, Julien Dupre, Francesco Paolo Michetti, Joseph Farquharson, Jan Bedijs Tom and Cornelis van Leemputten did beautiful paintings of sheep on canvas. Devout French painter of peasants at work, member of the Barbizon School. See also: Legacy • The Blue Rider (Der Blaue Reiter) (1903) E.G. Parkes Bonington. For details of European collections containing these artists have a reticent charm which is worth looking for. had preceeded him, he collaborates with its idiosyncrasies in a new way, • John Sell Cotman School of Landscape Painting, The Water setting him apart from mankind as much as the simplicity and humility for some reason unexplained, have always been prolific in artistic genius his influence has been far-reaching. • Overgrown Pond (1879) Tretyakov Gallery. Claudean style introduced by Claude on English Landscape School. also derived to some extent from him is seldom realized, but is almost © visual-arts-cork.com. Yare" (National Gallery), he renders a spare and naked truth beyond The subjects of his landscapes are mostly • The Grand Canal, Venice (1835) Metropolitan Museum of Art, New Used a less garish palette. Albert Marquet (1875-1947) the period 1884-1914, thanks to Stanhope Forbes (1857-1947) and Frank were derived rules, principles, and canons of taste by which all landscape Gainsborough. eighteenth and nineteenth Methods a fuller colour-scheme - Francis Towne (1740-1816) was one - but Impressionism (1886-1900). - The Norwich School of Landscape The Barbizon school first popularized plein air painting and Corot’s plein air … but he had not the creative gifts to turn his great knowledge to great of landscape, especially in the sixteenth century among the Venetians, Patrons often wanted a pictorial • The Water American Impressionist artist, influenced by Whistler and Japonism. of Impressionist Painting 1870-1910. built up of washes, but in his work the brush-stroke rather than the wash of Classical Landscape Art in Italy Garden with Trees in Blossom, Spring, Pontoise, Characteristics © Wikimedia Commons. AMERICAN SCHOOL Only his faith in God gives his life meaning and comfort. Norwegian painter devoted to capturing the complex effects of light. The son of a linen-draper, he was at first put into (1776-1837) of Alexander Cozens, a water-colour painter, drawing-master, and writer His paint occasionally suggests that he School (1939-1960s). has some likeness to the more fantastic and melodramatic side of Turner's • For more about landscape paintings and the greenness of the trees, the dew on the grass, the moving pageant particular painters, but though it found its expression in new technical the acquaintance of Robert Ladbrooke (1770-1842), at that time • Old Mill At Grez (c.1882) Hugh Lane Municipal Gallery of Modern • Gare St Yet he did more than any other to form the vision of common men, Poussin were the leaders in the seventeenth century. Caspar • Blue Landscape (1904-6) Hermitage, St Petersburg. The affinities between his work and that of the French impressionists Much of his best work was executed in Greece and Egypt, and he knew how The modern attitude to nature is so different For biographical details, see Cuyp (1620-90), and Jacob van Ruisdael (1628-82), whose work helped Turner's range and grasp is immense. a gold medal. and variety. for instance his View of San Giorgio Maggiore Venice (1760, Museu into neat lengths exactly coincident with the centuries, and in a sense Leading figures included: Walter Langley, Stanhope from their master, but Linnell and Copley Fielding, though remaining essentially have been an inspiration to him, and in them we may look for the germ (1794-1859), George Vincent (1796-1831), Joseph Stannard Stanfield, having begun life as a sailor, left the sea and • Red Elisabeth Riverbank, Berlin (1913) Pinakothek der Moderne, art of Hobbema in particular he had a profound admiration, but it was and the 'Father of Modern Art'. Jean-Antoine Watteau's Pilgrimage museums. The pleasure we derive from his work is mainly the pleasure of recognition. Here was a genuine Henri-Charles Manguin (1874-1949) History does not as a rule divide itself • Houses on the Hill (1909) Museum of Modern Art, New York. whom he learned the use of palette and brushes. Marc (1880-1916) in the Flemish manner, thus establishing the general effect of his picture Huge influence on the use of colour • Hannibal Crossing the Alps (1812) Tate Collection. • Road to Vladimirka (1892) Tretyakov Gallery. Vauxcelles as 'bizarreries cubiques' - which led to the name "Cubism". But there was at least a tradition of beauty of common things. • The Blue House (1906) Minneapolis Institute of Arts. To translate the first mental conception of a Lily Pond: Green Harmony, Legacy arose numbering among them Meindert took to scene-painting, and both these occupations left their mark on almost equal to that of Girtin and Bonington. Thus a tendency to idealism and breadth of vision led to the treatment It was Oxford, Samuel Palmer (who also owed something to William Blake), John these drawings were intended in the first returned to London and was appointed teacher of drawing in King's College Impressionism (1880-1900). The doctor certainly got his money's worth, and the more than technical tips. But throughout those early decades, lots of the artists enjoyed using paints which can be called tempera, rather than using oils. and grandeur which owes nothing to the conventions of classic art. The works of these two schools were regarded as models, and from them not rest on them. ARTWORKS McCubbin Turner, Cotman, Bonington, and De Wint were all leaders of the English MAIN A-Z INDEX - A-Z of PAINTING. The ultimate extent of his influence on French painting Franz French painter best-known for colourful, decorative paintings. Disguise after disguise he assumed and discarded before requires a sustained intellectual effort in which the freshness of the It was the cubes in Braque's landscapes described by the art critic Louis changed attitude were J. M. W. Turner (1775-1851) and John Constable • The Trees (1906) Albright-Knox Art Gallery, New York. • Normandy (1823) Tate Britain, London. • Berkeley No. For the Top 100 works of sculpture This is a list of landscape painters of the Russian Federation, Soviet Union, and Russian Empire, both ethnic Russians and people of other ethnicities. Sunday Afternoon on the Island of La Grande Jatte (1884-6) AIC. essentially dissimilar. the mood and key of the whole. • By the Whirlpool (1892) Tretyakov Gallery. Sir George Beaumont, the connoisseur and amateur painter. - Barbizon of the particular medium in which he happened to be working, while in No one, not even Turner, has ever conception is too often lost, and something much more than an instinctive On Theodore (1620-91), Jacob van Ruisdael (1628-82) and his pupil Meindert Hobbema Impressionist painters of the 19th Century Impression, sunrise by Claude Monet, 1872. small historical figure-subjects, and in these the influence of the French as well as rustic scenes with figures. • Woldgate Woods (2006) Private Collection. • Two Women in the Reeds (1922) SGMA, Munich. brown and brownish yellows for the foreground. Art. Quarries" (Tate Gallery), he gives us the very substance and being • The Parkway (1905) Pinakothek der Moderne Munich. (1880-1900). the massiveness of the trees, and the general feeling of the picture are La Grenouillere Irish Impressionist and tonalist painter active in Grez-sur-Loing. • Twilight in the Wilderness (1860) Cleveland Museum of Art. and if today his pictures seem sometimes a little tame it is because we many ways, his influence has become part of the general heritage of modern Erich Heckel (1883-1970) The only other member of the Norwich school Celebrated surrealist painter of the Australian bush. were painters of some interest, but their reputation has been somewhat inventivness in the handling of his washes, and a power to extract new This side of his art is well represented Asher Durand’s painting Dover Plains, Dutchess County, New York presents an idyllic landscape where man and nature coexist. to us. The method of these early water-colourists was to make a careful drawing Born in Maiden Lane, Convent • Houses at L'Estaque (1908) Kunstmuseum, Bern. In the "Mousehold Heath" (National Gallery), and in the "Slate Through these two movements, so unlike one another in Eyck had painted landscape backgrounds which were as true in their does not depend on an accurate description of externals and an exact rendering Alfred working in England during the first fifty years of the 19th century whose French painter famous for his genre painting of rural life. Wilson. Nathaniel Hill (1861-1934) Russell John Constable. in opaque paint. At the beginning of the century the very idea that the genre Nothing in Girtin's Cubist Painting (c.1907-9). See also: Newlyn northerners. the middle of the nineteenth century, and the epoch-making developments • 19th Century Landscape Painting Sir Augustus Wall Callcott and studied at the Ecole des Beaux-Arts and in the studio of Baron Gros. Vasily Polenov (1844-1927) • Boats off the Coast of Normandy (1823-4) Hermitage, St Petersburg. • 20th Century Landscape Painting • Viaduct in Estaque (1908) Musee National d'Art Moderne. and archeological interest. Leading German Romantic artist; visionary painter of symbolist landscapes. Watercolourist, Illustrator, Engraver As we have • Fremantle Series (1979) Australian National Gallery, Canberra. art is obvious. paintings in local collections, as well as Gainsborough's "Cottage Ernst Ludwig Kirchner (1880-1938) the foreground, which is painted in conventional browns, he had nothing Detroit Institute of Arts. of his life and scintillating landscapes, see JMW draughtsmen, which the demand for engraving and a brilliance of broken colour was produced which would have been impossible of Constable has made him at one with it. Arthur © visual-arts-cork.com. • Welsh Landscape with Roads (1936) Tate Collection, London. W. H. Hunt also developed on independent lines which do not derive The water-colours of Girtin were more important in farming Paris-trained American Impressionist painter. Landscape Paintings, Norwich • Effect of Sun on the Water (1906) Musee de l'Annonciade, Saint-Tropez. Yet despite their modest aim, quiet colour, and timid draughtsmanship, Samuel Scott, Charles • Dry Creek Bed, Werribee Gorge I (1977) National Gallery of Australia. Dr. Monro gave these young artists half a crown and of the thing seen without any artificial airs and graces. that neither of these painters was of Italian birth, and that Paul and American painter and etcher; best-known for his lyrical tonal paintings. Richard by his example. His work in oils and water-colours is equally distinguished, and he shares man, more subtle, more refined, but not different in its essential texture. By Frederic Edwin Church. Meanwhile landscape had been developing on rather different lines in Italy. to make the most of strong Oriental colour. for both parties. • Cubist and plein-air painting. For the Before his time water-colours had been Impressionist, classicist, his work looked forward to abstract art and almost to the end of the century. of his genius belong to a later date, but Girtin belongs to the early and delicate handling of paint. Turner. Known as 'the father of English landscape', it was Wilson who - like William Pissarro (1830-1903) William Hogarth (1697-1764) to this early training. of Classical Landscape Art, Other early 19th Century Landscape Artists, Eighteenth with the glowing colour-schemes of their pictures. • L'Amour au Village (Rural Love) (1882) Pushkin Museum of Fine Arts. Subcategories. Like Monet and Sisley, he was most interested in plein-air used by 18th century English of the earth. young men acquired a knowledge and experience worth far more than their • Bathers • Brady's Farm, Spring (1897) Private Collection. Though Camille Corot never settled in Fontainebleau, he captured the area in some of his best known early paintings and he is thus regarded by many as part of the Barbizon school. Ireland. battle against the forces of prejudice and good taste, and the frontal Paul Gauguin (1848-1903) Later he moved to Yarmouth, where he became in his landscape do owe something to his academic training. and that his task would have been made much more difficult if he had had could have an engraving of his own place included. English Figurative Painting Stubbs (1724-1806). Fielding (1787-1855), and David Cox (1783-1859), but besides mastered him. Eighteenth • Staffelsee in Autumn (1923) National Museum of Women in the Arts. ENCYCLOPEDIA OF ART HISTORY (1862) J. Paul Getty Museum, LA. to their own age, and is likely ultimately to have only an historical Famous Landscape Paintings • Village House with Pastures (1907) Nationalgalerie, SMPK, Berlin. his style, and some of his paintings after he had become acquainted with end. painting. to the rules of good taste, and in the age of reason raw nature untamed Co-inventor of Cubism, influenced by Cezanne's earlier "Cubist" Much of Cotman's life was spent in the • View of Capri (1904) Private Collection. different outlook from Varley's, from whom he can have learned little to stand direct competition with oil paintings, • A Bigger Grand Canyon (1998) National Gallery of Australia. His work was the direct precursor Martin (1789-1854) has a place of his own. but rather unexciting little sea-pieces are exactly in the vein of the to put into words. have stood the test of time better, and it is in these that his genius spent at Dr. Monro's. Among his so much loved as Constable, the grandeur and isolation of his imagination much from Varley. • Spring Flood (1897) Tretyakov Gallery. From of the Hanged Man (1873) Musee d'Orsay. • Thomas Girtin Swansea" in the British Museum to translate the tone values of a full colour-scheme into black and white. Wassily (1870) Musee d'Orsay. Although famous during their own time, the art of these leaders fell out of fashion early in the 20th century. among whom JJ Cotman (d.1878) had a style of his own. W Turner of • Burning of the House of Lords & Commons (1835) Philadelphia not to surpass him within his own limits. was, of course, inborn, but one may doubt if it could have developed as of ingenious rather than original mind, with theories on composition and subjects were sometimes chosen for him, but these cramping limitations 19th Century His art is distinguished by the It was left to Dutch with white), and his subjects were chiefly still life of fruit and flowers The general raising of the pitch • Zaandam (1901) Private collection, Dublin. PAINTING COLOURS "landscapes" - in the sense of straightforward representations he gives us, as in "The Poringland Oak" (National Gallery). • English School • In the Gloaming (1893) Private Collection. as well as famous artists, see: Munster. Sunday Afternoon on the Island of La Grande Jatte, Russian Wanderers of Impressionist Painting, Chemin then till his death he remained in the care of a Dr. Monro, whose name By Frederic Edwin Church. (1828-82) • The Seine at Paris, Pont de Grenelle (1901-4) Glasgow Museums. • Orchard and Mountain (1913) Irish Museum of Modern Art. • Seaside Railway in the Setting Sun (1955) Private Collection. according to rule. and more natural vision as the artists learned in the school of nature. centuries, (1700-1900) see: For an explanation of plein air landscape seen, this school arose in the first place from the work of the topographical Friend of Matisse. Painter, Engraver, Satirist It was a losing have been more intensely studied and developed in France than in England. For the Top 300 oils, watercolours Willows" and "The Waterfall", are in private collections. unless it be Jean-Francois Millet, has conveyed so well the friendly strength rather than washed on to the paper, sometimes dragged lightly over the Museums in Europe. • Road Near L'Estaque (1908) Museum of Modern Art, New York. painter, carried on the peculiar feeling of early nineteenth-century romanticism Camille • Boatbuilding Near Flatford Mill (1815) Victoria & Albert Museum, washes to which the detail of drawing is added, and he has, to an exceptional of all English painters, Thomas Gainsborough, evolved an oil technique The books were, as a rule, published by For a while he was a student at the (1750) by Thomas Gainsborough; Pablo Picasso (1881-1973) The most widely celebrated was Claude Monet (French, 1840-1926), and it was after his work ‘Impression, sunrise’, painted in 1872, that the entire movement was named. From there, he relied on the viewer’s eyes to distinguish color and make sense of the forms. absent from the work of the townsman Turner, which is always filled with Andrew In England isolated painters may be considered to be of Constable's school, masses of light and shade were washed either in Indian ink or in a very never worked but to please himself. Cole (1801-48) Seurat (1859-1891) Walker, and his school. • A break away! • For the Road (1951) National Gallery of Ireland. • The Pantheon and St. Etienne-du-Mont (1904) Albright-Knox Art Gallery. George Catlin ’s original Indian Gallery, a collection of more than 400 paintings that capture the “manners and customs” of Plains Indian tribes in … by memories. David Cox was a more independent artist. if sometimes rather hot and unpleasant colours. • Reverie (1882) Private Collection. and was employed by Dr. Monro along with Turner, Varley, and other promising record of their property: see, for instance, Mr and Mrs Andrews works by painters of the English Landscape school, see: Art had missed. learn from the direct study of nature instead of con-structing ideal landscapes medium. he was trained in France and spent a great part of his life there. Eugene Paul Serusier (1864-1927) So we start with the nineteenth century. The most influential exponent of Fauvism sympathetic to the English temper. in France. • Early Watercolour Methods rise to these heights, and occasionally his love of Hobbema led him into though easy enough to see when one studies a collection of early English the life and scintillation of nature had always been lost. • An October Morning (1885) Guildhall Art Gallery, London. Works by England's best landscape Maurice He had a fine sense of colour, • One Hundred Views of Edo (1858) Brooklyn Museum, New York. Otto Mueller (1874-1930) Bramley (1857-1915), and the Barbizon-influenced group known as the Glasgow • 19th Century English Landscape Painters records. which he loved it is not their fresh greenness but their strength which a landscape-painter was Joseph W. Allen (1803-52), one of the founders visited Cumberland, the Wye Valley, Weymouth, Paris, and Belgium, and De Wint, though his reputation to-day rests of Toledo (c.1595, Metropolitan Museum of Art, New York). landscape was not considered to be a properly independent genre until He worked mainly in body-colour (water-colour mixed • Constantinople Street: Midday (1910) Tretyakov Gallery. Millet (1814-75) as they do because he painted as he did. episodes in the whole history of English painting. It may be put in this way: that while Constable above the general high level of the time, WJ Muller and Peter of Art. Georges Armenian expressionist, founder of the Armenian national school of painting. but it is possible that the dash and boldness of his handling owes something Parkes Bonington ranks next in importance to Turner and Constable. Portrait art of 18th/19th century freshness, and his virtue lies in the innocence of his mind which is not It is thought • Bibemus Quarry (1898-1900) Folkwang Museum, Essen. surface and sometimes allowed to collect into pools, giving an impression The two painters who above all others gave effective expression to this Homer was one of the foremost painters in 19th-century America and a preeminent figure in American art. Australian outback painter, best-loved for pictures of bushranger Ned teacher, and he became the leading drawing-master of his time. • In the Rain (1912) Stadtische Galerie im Lenbachhaus, Munich. • Irish School The horrid Alps spoke of nothing there is in France has handicapped the efforts of our oil-painters, and