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Oil Paintings Come From United Kingdom
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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

 

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John Constable The Valley Farm oil painting

Painting ID::  33924

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John Constable
The Valley Farm
mk87 1835 Oil on canvas 147.3x125cm London,Tate Gallery
   
   
     

 

 

John Constable The Grove,or the Admiral-s House Hampstead oil painting

Painting ID::  38583

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John Constable
The Grove,or the Admiral-s House Hampstead
mk138 1821/22 Oil on canvas 60x50cm
   
   
     

 

 

John Constable Golding Constable-s Flower Garden oil painting

Painting ID::  38752

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John Constable
Golding Constable-s Flower Garden
mk141 1815 Oil on canvas
   
   
     

 

 

John Constable Golding Constable-s Kitchen Garden oil painting

Painting ID::  38753

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John Constable
Golding Constable-s Kitchen Garden
mk141 1815 Oil on canvas
   
   
     

 

 

John Constable A Study for The Leaping Horse oil painting

Painting ID::  38754

X 
 

John Constable
A Study for The Leaping Horse
mk141 1824-25 Oil on canvas
   
   
     

 

 

John Constable The Leaping Horse oil painting

Painting ID::  38755

X 
 

John Constable
The Leaping Horse
mk141 1825 The Royal Academy of Arts,London
   
   
     

 

 

John Constable Study of clouds at Hampstead oil painting

Painting ID::  38756

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John Constable
Study of clouds at Hampstead
mk141 1821 Oil on canvas
   
   
     

 

 

John Constable View in  Garden at Hampstead,with a Red House beyond oil painting

Painting ID::  38757

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John Constable
View in Garden at Hampstead,with a Red House beyond
mk141 1821 Oil on canvas
   
   
     

 

 

John Constable Hadleigh Castle oil painting

Painting ID::  38758

X 
 

John Constable
Hadleigh Castle
mk141 1829 Yale Center for British Art
   
   
     

 

 

John Constable East Bergholt oil painting

Painting ID::  38759

X 
 

John Constable
East Bergholt
mk141 1831 The Artist-s Birthplace
   
   
     

 

 

John Constable Sun bursting through dark clouds oil painting

Painting ID::  38764

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John Constable
Sun bursting through dark clouds
mk141 1821 Oil on paper laid on panel 21.2x29cm
   
   
     

 

 

John Constable A Vignette oil painting

Painting ID::  38761

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John Constable
A Vignette
mk141 1829 Oil on canvas
   
   
     

 

 

John Constable Old Sarum oil painting

Painting ID::  38762

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John Constable
Old Sarum
mk141 1831/32 2nd plate
   
   
     

 

 

John Constable View into a Garden in Hampstead with a Red House beyond oil painting

Painting ID::  38763

X 
 

John Constable
View into a Garden in Hampstead with a Red House beyond
mk141 1821 Oil on canvas 35.5x30.5cm
   
   
     

 

 

John Constable Cloud Study over a horizon of trees oil painting

Painting ID::  38765

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John Constable
Cloud Study over a horizon of trees
mk141 1821 Oil on paper laid on board 24.8x29.2cm
   
   
     

 

 

John Constable Study of Clouds at Hampstead oil painting

Painting ID::  38766

X 
 

John Constable
Study of Clouds at Hampstead
mk141 1821 Oil on paper laid on board 24.2x29.8cm
   
   
     

 

 

John Constable Dedham Mill oil painting

Painting ID::  40661

X 
 

John Constable
Dedham Mill
mk156 1820 Oil on canvas 70x90.5cm
   
   
     

 

 

John Constable Salisbury Cathedral from the Bishop-s Grounds oil painting

Painting ID::  40671

X 
 

John Constable
Salisbury Cathedral from the Bishop-s Grounds
mk156 1823 Oil on canvas 88x112cm
   
   
     

 

 

John Constable The Opening of Waterloo Bridge oil painting

Painting ID::  40675

X 
 

John Constable
The Opening of Waterloo Bridge
mk156 1932 Oil on canvas 130.8x218cm
   
   
     

 

 

John Constable Sailsbury Cathedral From the Bishop-s Garden oil painting

Painting ID::  41350

X 
 

John Constable
Sailsbury Cathedral From the Bishop-s Garden
mk161 Oil on canvas 34x44
   
   
     

 

       Prev    5  6  7  8  9  10  11  12  13  14     Next

 

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