Painting 10 класс

Нина Васильевна

СОШ № 310 г. Москва

Born in Suffolk, he is known principally for his landscape

paintings 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”.
Constable was never financially successful. He didn’t become a member of establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England and inspired the Barbizon school.

It was left for Constable to give landscape painting its

final dispatch. For the first time the vivid green of nature invaded the domain of landscape painting.
‘Flatford Mill on the River Stour,’ painted in 1817, shows that even then he had developed a style that was conspicuous for its intimate naturalism. He had brought painting out of doors,
The scene is typically English. In the near foreground a horse with a boy on its back is being attached to the towing rope of a barge floating idly on the stream. In the distance is a lock and the buildings of the mill. To the right of the picture stretches a level expanse of pasture, interspersed with trees. The time is early summer, when the foliage is heaviest and the grass has not lost the freshness of spring. Green shadows dapple the sunlit sward, and over all is a soft and tranquil sky.
(R. N. D. Wilson, The National and Tate Galleries)

painter, water-colourist, and printmaker. Turner was considered a controversial figure

in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as “the painter of light” and his work is regarded as a Romantic preface to Impressionism. Some of his works also are cited as examples of Abstract Art existing prior to recognition in the early twentieth century.
 

 
 

front of a marble balcony. The left arm rests on

the arm of the seat, and the fingers fold over the end of it. The right hand, perhaps the most perfect hand ever either side from the veil, and just brushing the bosom as it falls, painted, lies lightly over the left hand and wrist. On sleeves and bodice the pleats of the satin dress take the light, and worked along the braid, as it were a sign manual of the artist, is one of the interlacing patterns. The curling auburn hair escaping at has perhaps the most resemblance to the earlier work. The eyes look out at you, grey, devoid alike of eyelash or eyebrow, heavy-lidded, languorous yet strangely intent. The face is full and of a southern type, and the lips are smiling. She was listening to music while he painted, so Vasari tells us. Beyond the balcony a strip of herbage has a warm russet glow, and road and river wind away on either side in labyrinthine coils amidst the fretted rocks to where, in the far distance, shadows are deep and still water lies among the hills.
(Edward McCarely. Leonardo da Vinci)