Page:Cyclopedia of painters and paintings - Volume I.djvu/367

 *—Allgem. d. Biogr., iv. 441; Kunst-Chronik, viii. 675; Brockhaus, iv. 564.

CONRÄDER, GEORG, born in Munich in 1838. History painter, pupil of Munich Academy and of Piloty; was in 1860 professor at the Art School, Weimar, and in 1862 professor at the Munich Academy. Works: Tilly in Gravedigger's House in Leipsic (1860); Destruction of Carthage (1861), Maximilianeum, Munich; Tasso in Prison, Charlotte Corday (1869); Mary Stuart and Rizzio (1876); Death of Joseph II. (1874); Meeting of Joseph II. and Pius VI. in 1782. In fresco: Foundation of Academy of Sciences, Natural Museum, Munich.—Brockhaus, iv. 565; Müller, 111.

CONSONI, NICCOLA, born at Rieti, Perugia, in 1814. History painter, pupil of Perugia Academy under Giovanni Sanguinetti and in Rome of Tommaso Mainardi. Works in fresco: Scenes from New Testament (1840), Vatican, Rome; Minerva's Contest with the Pierides (1845), Library, Palazzo Corsini, ib.; Raphael's Hours, Buckingham Palace, London; Crucifixion, Ascension, The Patriarchs (1861), Prince Albert's Mausoleum, Osborne.—Müller, 112.

CONSTABLE, JOHN, born at East Bergholt, Suffolk, June 11, 1776, died in London, March 30, 1837. Landscape painter, pupil of Royal Academy in 1799, and later of Joseph Farrington and R. R. Reinagle. After painting portraits and history, he turned to landscape art as his real vocation, exhibiting his first picture in 1802. He did not, however, become a member of the Royal Academy until 1829 (A.R.A., 1819), and never during his lifetime enjoyed any great popularity in his native country. In France, on the contrary, he found early recognition, and is of all British painters the most highly esteemed, especially since he has become more widely known through the two landscapes, the Rainbow and Weymouth Bay, presented to the Louvre by Mr. Wilson, in 1873. The influence he exerted upon the modern school of French landscape painting, which is incontestable, fully entitled him to a place in the great national French collection. While there are many landscape painters who can paint nature in her tranquil moods, when she sits motionless as a model, there are but few who, like Constable, can fix upon canvas the coming storm, the rising wind, and the rapidly changing sunset. In treating masses of cloud driving across the sky or brooding over the tree-*tops he has no rival. His pictures are sometimes heavily loaded, his foregrounds not free from spottiness, but their brilliancy, vigour of tone, and truth in representing accidental effects is such as to condone all shortcomings. Works: Cornfield (1826); Valley Farm (1835), Cornfield with figures (sketch), Barnes Common, National Gallery, London; Weymouth Bay (1827), Cottage (1818), Rainbow (sketch of Salisbury Cathedral), Landscape (sketch of Hampstead Heath), Louvre; Salisbury Cathedral (1823), Dedham Mill (1820), Hampstead Heath (2, 1827 and 1830), Boat Building, Water Meadows, S. Kensington Museum; Salisbury Cathedral, Yarmouth Pier (1831).—Leslie, Memoir (London, 1842); Ch. Blanc, École anglaise; F. de Conches; Lucas, English Landscape Scenery from Constable's pictures (London, 1855); Art Journal (1855), 9; Sandby, ii. 54; Portfolio (1873), 93, 108, 117.

CONSTANCE DE BEVERLEY, TRIAL OF, Toby Rosenthal, Irving M. Scott, San Francisco; canvas, H. 5 ft. × 8 ft. Scene from Marmion, Canto II. Constance, who ran away from her convent to follow Marmion, is tried for her crime before the holy fathers in the subterranean dungeons of the monastery and condemned to be immured alive in the wall.—Painted in 1883.

CONSTANT. See Benjamin-Constant.

CONSTANTINE, BAPTISM OF, Raphael (?) and Il Fattore, Sala di Costantino, Vati