English Romantic Painter, 1775-1851, British land- and seascape artist. Born in London the son of a barber, Turner was precociously talented. He entered the RA Schools in 1789, had a drawing exhibited at the academy in 1790, and was elected a full academician in 1802. He became professor of perspective in 1807. A prolific artist of amazing range of subject and style, he began work in water-colours, quickly founding both a reputation and a fortune, which made him independent of changing public taste. His work was not appreciated by everyone, but his supporters included Thomas Lawrence, John Ruskin, and the earl of Egremont. He died in eccentric obscurity under a false name.   Related Paintings of J.M.W.Turner :. | calais pier | schloss rosenau, | sun rising through vapour | the fifth plague of egypt | petworth park |
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Chandler Winthrop
American Colonial Era Painter, 1747-1790 American painter. He was one of ten children of William Chandler, a farmer, and Jemima Bradbury Chandler of Woodstock, CT. After the death of his father in 1754 and on reaching the age for apprenticeship, Chandler pursued a career as a portrait and ornamental painter. While there is no proof of his presence in Boston, the History of Woodstock (1862) states that he studied portrait painting there. He may also have had the opportunity to view works by the major artist of the city, John Singleton Copley, as well as those of his lesser-known contemporaries, William L. Johnston and Joseph Badger. In the course of his career, Chandler worked in such diverse trades as gilding, carving and illustrating, as well as portraiture, landscape and house painting, suggesting that he received some instruction as an artisan-painter.
Spencer Stanhope
British 1829-1908 Stanhope was the son of John Spencer Stanhope of Horsforth and Cannon Hall, MP, a classical antiquarian who in his youth explored Greece. The artist??s mother was Elizabeth Wilhemina Coke, third and youngest daughter of Thomas William Coke of Norfolk, first Earl of Leicester; she and her sisters had studied art with Thomas Gainsborough. Stanhope had one older brother, Walter, who inherited Cannon Hall, and four sisters, Anna Maria Wilhelmina, Eliza Anne, Anne Alicia, and Louisa Elizabeth. Anna married Percival Pickering and became the mother of Evelyn. Not inheriting the family estates left Stanhope free to make a commitment to art. While a student at Oxford, he sought out Watts as a teacher and was Watts?? assistant for some of his architectural paintings. Spencer-Stanhope traveled with Watts to Italy in 1853 and to Asia Minor in 1856?C57. Upon his return, he was invited by Dante Gabriel Rossetti to participate in the Oxford murals project, painting Sir Gawaine and the Damsels. On January 10, 1859, he married Elizabeth King, the daughter of John James King, granddaughter of the third Earl of Egremont, and the widow of George Frederick Dawson. They settled in Hillhouse, Cawthorne, and had one daughter, Mary, in 1860. That same year, Spencer-Stanhope??s house Sandroyd (now called Benfleet Hall), near Cobham in Surrey, was commissioned from the architect Philip Webb. Finished by 1861, Sandroyd was only Webb??s second house, the first having been built for William Morris. The house was designed to accommodate Stanhope??s work as a painter, with two second-floor studios connected by double doors, a waiting room, and a dressing room for models. The fireplace featured figurative tiles designed by Burne-Jones based on Chaucer??s dream-vision poem The Legend of Good Women. For a person of Stanhope??s social standing, the house was considered ??a modest artist??s dwelling.?? Burne-Jones was a frequent visitor to Sandroyd in the 1860s, and the landscape furnished the background for his painting The Merciful Knight (1964), the design of which Stanhope??s I Have Trod the Winepress Alone is said to resemble. The move was intended to offer an improved environment for Stanhope??s chronic asthma. When his condition was not alleviated, he turned to wintering in Florence. In the summers, he at first stayed at Burne-Jones??s house in London and later at the Elms, the western half of Little Campden House on Campden Hill, the eastern half of which was occupied by Augustus Egg. In 1867, at the age of seven, Mary died of scarlet fever and was buried in at the English Cemetery in Florence. Her father designed her headstone. Though his family accepted his occupation as a painter and took a great interest in art, Evelyn??s parents disparaged the achievements of ??poor Roddy?? and regarded the painters with whom he associated as ??unconventional.?? Considered among the avant-garde of the 1870s, Stanhope became a regular exhibitor at the Grosvenor Gallery, the alternative to the Royal Academy. Stanhope moved permanently to Florence in 1880. There he painted the reredos of the English Church, and other work in the Chapel of Marlborough College. In 1873, he bought the Villa Nuti in Florence, where he was visited frequently by de Morgan and where he lived until his death. De Morgan??s sister, A.M.W. Stirling, wrote a collection of biographical essays called A Painter of Dreams, including reminiscences of her uncle, ??the Idealist, the seer of exquisite visions.?? During the 19th and early 20th century, the extended Spencer-Stanhope family included several artists, whose ties were the theme of a 2007 exhibition, Painters of Dreams, part of the 50th anniversary celebration of the opening of Cannon Hall to the public as a museum. Featured were paintings by Stanhope and de Morgan, along with ceramics by her husband, William de Morgan; bronzes by Gertrude Spencer-Stanhope; and the ballroom at Cannon Hall and ??Fairyland?? in the pleasure grounds, which were designed by Sir Walter and his daughter Cecily.
Jean-Antoine Watteau
1684-1721 Antoine Watteau Art Locations He is best known for his invention of a new genre, the fete galante, a small easel painting in which elegant people are depicted in conversation or music-making in a secluded parkland setting (see under FETE CHAMPETRE). His particular originality lies in the generally restrained nature of the amorous exchanges of his characters, which are conveyed as much by glance as by gesture, and in his mingling of figures in contemporary dress with others in theatrical costume, thus blurring references to both time and place. Watteau work was widely collected during his lifetime and influenced a number of other painters in the decades following his death, especially in France and England. His drawings were particularly admired. Documented facts about Watteau life are notoriously few, though several friends wrote about him after his death (see Champion). Of over two hundred paintings generally accepted as his work