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John Constable
Stour Valley and the church of Dedham
MK169
1814-15
oil Paint on cloth 55x77.8cm Museum or Finn Physician.
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John Constable
The jumping horse
MK169
1824-24
oil Paint on cloth 142x187cm
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John Constable
Weymouth Bay Bowleaze Cove and Jordan Hill
mk170
1816-1817
Oil on canvas
53.3x74.9cm
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John Constable
The Cornfield
mk170
1826
Oil on canvas
142.9x121.9cm
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John Constable
The Hay-Wain
mk170
1821
Oil on canvas
130.2x185.4cm
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John Constable
Boat-Building on the Stour
1814-15
Oil on canvas,
25 x 30 cm
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John Constable
The Stour-Valley with the Church of Dedham
1814
Oil on canvas,
55,5 x 77,8 cm
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John Constable
Weymouth Bay, with Jordan Hill
1816
Oil on canvas,
53 x 75 cm
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John Constable
Malvern Hall in Warwickshire
1809
Oil on canvas,
51 x 77 cm
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John Constable
View of Malvern Hall,Warwickshire
mk190
1809
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John Constable
View of the grounds of Wivenhoe Park,Essex
mk190
1816
the Seat of Major-General
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John Constable
The Kitchen Garden at East Bergholt House,Essex
mk190
1815
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John Constable
The Flower Garden at East Bergholt House,Essex
mk190
1815
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John Constable
Unknown work
mk191
1827
Oil on canvas
127x183cm
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John Constable
Unknown work
mk191
Oil on canvas
1827
127x183cm
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John Constable
The Cornfield
mk218
1826
Oil on canvas
143x122cm
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John Constable
Sketch for The Leaping Horse
1824-25 Oil on canvas, 129 x 188 cm
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John Constable
A Boat at the Sluice
Oil on canvas
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John Constable
The white hasten
mk234
probably
1819
130x188cm
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John Constable
Dedham seen from Langham
mk234
about 1813
13.5x19cm
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| John Constable
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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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