Joseph Mallord William Turner, known in his time as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.
John Constable was an English landscape painter in the Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting with his pictures of Dedham Vale, the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".
The Norwich school of painters was the first provincial art movement established in Britain, active in the early 19th century. Artists of the school were inspired by the natural environment of the Norfolk landscape and owed some influence to the work of landscape painters of the Dutch Golden Age such as Hobbema and Ruisdael.
Graham Vivian Sutherland was a prolific English artist. Notable for his paintings of abstract landscapes and for his portraits of public figures, Sutherland also worked in other media, including printmaking, tapestry and glass design.
Paul Nash was a British surrealist painter and war artist, as well as a photographer, writer and designer of applied art. Nash was among the most important landscape artists of the first half of the twentieth century. He played a key role in the development of Modernism in English art.
The art of the United Kingdom refers to all forms of visual art in or associated with the country since the formation of the Kingdom of Great Britain in 1707 and encompasses English art, Scottish art, Welsh art and Irish art, and forms part of Western art history. During the 18th century, Britain began to reclaim the leading place England had previously played in European art during the Middle Ages, being especially strong in portraiture and landscape art.
Major Sir William Newenham Montague Orpen, was an Irish artist who mainly worked in London. Orpen was a fine draughtsman and a popular, commercially successful painter of portraits for the well-to-do in Edwardian society, though many of his most striking paintings are self-portraits.
Philip James de Loutherbourg, whose name is sometimes given in the French form of Philippe-Jacques, the German form of Philipp Jakob, or with the English-language epithet of the Younger, was a French-born British painter who became known for his large naval works, his elaborate set designs for London theatres, and his invention of a mechanical theatre called the "Eidophusikon". He also had an interest in faith-healing and the occult, and was a companion of the confidence-trickster Alessandro Cagliostro.
Jan Siberechts (1627–1703) was a Flemish landscape painter who after a successful career in Antwerp, emigrated in the latter part of his life to England. In his early works, he developed a personal style of landscape painting, with an emphasis on the Flemish countryside and country life. His later landscapes painted in England retained their Flemish character by representing a universal theme. Siberechts also painted hunting scenes for his English patrons. The topographical views he created in England stand at the beginning of the English landscape tradition.
Romanticism in the visual arts, originating in the 1760s, marked a shift towards depicting wild landscapes and dramatic scenes, reflecting a departure from classical artistic norms. This movement emphasized the sublime beauty of nature, the intensity of human emotions, and the glorification of the past, often through the lens of national identity and historical events.
Events from the year 1799 in art.
Marine art or maritime art is a form of figurative art that portrays or draws its main inspiration from the sea. Maritime painting is a genre that depicts ships and the sea—a genre particularly strong from the 17th to 19th centuries. In practice the term often covers art showing shipping on rivers and estuaries, beach scenes and all art showing boats, without any rigid distinction – for practical reasons subjects that can be drawn or painted from dry land in fact feature strongly in the genre. Strictly speaking "maritime art" should always include some element of human seafaring, whereas "marine art" would also include pure seascapes with no human element, though this distinction may not be observed in practice.
Marine art was especially popular in Britain during the Romantic Era, and taken up readily by British artists in part because of Great Britain's geographical form. This article deals with marine art as a specialized genre practised by artists who did little or nothing else, and does not cover the marine works of the leading painters of the period, such as, and above all, J. M. W. Turner. The tradition of British marine art as a specialized genre with a strong emphasis on the shipping depicted began in large part with the artists Willem Van de Velde the Elder and his son, called the Younger in the early 18th century. The Van Veldes, originally from Holland, moved to England to work for King Charles II). By the 17th century, marine art was commissioned mostly by merchant seamen and naval officers and created by marine art specialists.
Four Times of the Day is a series of four paintings depicting four times of the day: Morning, Midday, Evening, and Night by the French landscape painter Claude Joseph Vernet (1714–1789).
Fishermen at Sea, sometimes known as the Cholmeley Sea Piece, is an early oil painting by English artist J. M. W. Turner. It was exhibited at the Royal Academy in 1796 and has been owned by the Tate Gallery since 1972. It was the first oil painting by Turner to be exhibited at the Royal Academy. It was praised by contemporary critics and burnished Turner's reputation, both as an oil painter and as a painter of maritime scenes.
The Battle of Alexandria is an oil on canvas history painting by the French-born British artist Philip James de Loutherbourg, from 1802. It is held at the Scottish National Gallery, in Edinburgh.
A Distant View of St-Omer is a c.1824 landscape painting by the British artist Richard Parkes Bonington. Bonington moved to France when he was fourteen and became known for his views of the French countryside and coasts. This painting depicts the town of Saint-Omer on River Aa in Picardy from a distance. A rural scene, the skyline of Saint-Omer and its taller, church buildings is dominated by the clouds and the near countryside.
The Grand Attack on Valenciennes by the Combined Armies is a 1794 history painting by the French-born British artist Philip James de Loutherbourg. It depicts the gathering of Allies Generals during the Siege of Valenciennes in September 1793 during the Flanders Campaign of the French Revolutionary War. The Duke of York, second son of George III of Great Britain, commanded the coalition troops during the campaign. The taking of Valenciennes was a notable early Allied victory of the War of the First Coalition, but quickly the tide turned and the forces of Revolutionary France overran much of modern Belgium and in 1795 defeated and occupied the Dutch Republic The campaign gave rise to the nursery rhyme The Grand Old Duke of York.
A View near Matlock, Derbyshire is a 1785 landscape painting by the French-born British artist Philip James de Loutherbourg. It portrays a scene near Matlock in Derbyshire, close to the village of Matlock Bath in the Derwent Valley. Men are show at work beneath a wooden conveyor designed to draw water from a lead mine.
An Avalanche in the Alps is an 1803 landscape painting by the French-born British artist Philip James de Loutherbourg. Painted in the emerging style of romanticism it depicts an avalanche in the mountains of the Alps. Loutherbourg adds narrative to the painting by having tiny figures in the foreground recoiling from the impending avalanche.
