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John Constable 1776-1837
British
John Constable Locations
1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy
John Constable Hampstead Heat mk235
1824
Oil on canvas
Painting ID:: 54520
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John Constable The Hay Wain mk235
1821
Oil on canvas
130.2x185.4cm
Painting ID:: 56190
X
John Constable the hay wain mk247
1821,oil on canvas,51.375x73 in,130.5x185.5 cm,national gallery ,london,uk
Painting ID:: 56194
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John Constable brighton beach with colliers mk247
1824,oil on paper,5.875x9.75 in,14.9x24.8 cm,victoria and albert museum,london,uk
Painting ID:: 56521
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John Constable en studie av himmel och trad mk248 for constable innebar bimmelsiakttagelsiakttagelser att gora sma studier i olja av moln med detakjerade anteckningar skrivna pensselstreck ocb over lappen deferger, vilket gav djup at molnformationen, studierna var inte nodvadigtvis en del av en storre komposition utan atergav vader ljus ocb farg pa ett speciellt avsnitt av bimlen.
Painting ID:: 56522
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John Constable sadesfalrer mk248 det befolkade landskapet var constables standiga motiv ovb det ban var mest fortrogen med. vagen till sadesfaltet ar samma som konstnaren gick langs nar ban skulle till skolan detta ar det suffolk som ban bar i sitt bjarta i bela sitt liv.sadesfalter foljer olika riktningar i tid ocb rymd. det vertikala fitrmatet styr askadarens blick fran pojken vid backen till mannen som skordar saden ocb slutligen till kyrktornet bland traden.den romantiske poeten wordswortb bifrog till den fond som kopte in malningen till nationak gallery i london.
Painting ID:: 58414
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John Constable Constable Dedham Vale of 1802 Constable's Dedham Vale of 1802
Painting ID:: 58415
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John Constable Wivenhoe Park Wivenhoe Park, 1816
Painting ID:: 58416
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John Constable Maria Bicknell Maria Bicknell, painted by Constable in 1816
Painting ID:: 58417
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John Constable Constable Weymouth Bay Constable's Weymouth Bay, c. 1816
Painting ID:: 58418
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John Constable Constable The Hay Wain Constable's The Hay Wain of 1821
Painting ID:: 58419
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John Constable Constable The Cornfield of 1826 Constable's The Cornfield of 1826
Painting ID:: 58422
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John Constable Constable Seascape Study with Rain Cloud c.1824 Constable's Seascape Study with Rain Cloud c.1824
Painting ID:: 58423
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John Constable Salisbury Cathedral by John Constable Salisbury Cathedral by John Constable, ca. 1825. As a gesture of appreciation for John Fisher, the Bishop of Salisbury, who commissioned this painting, Constable included the Bishop and his wife in the canvas. Their figures can be seen at the bottom left of the painting, behind the fence and under the shade of the trees.
Painting ID:: 66249
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John Constable ''Malvern Hall'' 1809, oil on canvas, Tate Gallery, London.
Painting ID:: 68838
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John Constable east bergholt rectory 1810 oil on canvas 15.5x24.5cm
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Painting ID:: 68910
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John Constable old sarum 1833 mezzotint engraving
20.4x28.3cm
se
Painting ID:: 71920
X
John Constable Malvern Hall, Malvern Hall, 1809, oil on canvas, Tate Gallery, London.
Painting ID:: 73204
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John Constable Constable MalvernHall , 1809, oil on canvas
cyf
Painting ID:: 80222
X
John Constable Beach of Brighton with sailing boats 1824(1824)
Oil on paper
14,9 x 24,8 cm
cjr
1776-1837
British
John Constable Locations
1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy
