Paul Huet

[2] Bonington's example influenced Huet to reject neoclassicism and instead paint landscapes based on close observation of nature.

[3] The British landscape paintings exhibited in the Salon of 1824 were a revelation to Huet, who said of Constable's work: "It was the first time perhaps that one felt the freshness, that one saw a luxuriant, verdant nature, without blackness, crudity or mannerism.

"[4] Huet's subsequent work combined emulation of the English style with inspiration derived from Dutch and Flemish old masters such as Rubens, Jacob van Ruisdael, and Meindert Hobbema.

[2] Less enthusiastic was Étienne-Jean Delécluze, who criticized Huet as "the painter who has been the most faithful to the principles of Constable, Turner, Daniell and by extension Watteau ... he totally neglects design.

[6] He was unusual among French landscape painters in his use of watercolor for sketching as well as for finished works, which were often so richly developed that they resemble oil paintings.