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John Constable
Hampstead Heat
mk235
1824
Oil on canvas
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John Constable
The Hay Wain
mk235
1821
Oil on canvas
130.2x185.4cm
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John Constable
the hay wain
mk247
1821,oil on canvas,51.375x73 in,130.5x185.5 cm,national gallery ,london,uk
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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
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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.
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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.
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John Constable
Constable Dedham Vale of 1802
Constable's Dedham Vale of 1802
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John Constable
Wivenhoe Park
Wivenhoe Park, 1816
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John Constable
Maria Bicknell
Maria Bicknell, painted by Constable in 1816
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John Constable
Constable Weymouth Bay
Constable's Weymouth Bay, c. 1816
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John Constable
Constable The Hay Wain
Constable's The Hay Wain of 1821
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John Constable
Constable The Cornfield of 1826
Constable's The Cornfield of 1826
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John Constable
Constable Seascape Study with Rain Cloud c.1824
Constable's Seascape Study with Rain Cloud c.1824
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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.
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John Constable
''Malvern Hall''
1809, oil on canvas, Tate Gallery, London.
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John Constable
east bergholt rectory
1810 oil on canvas 15.5x24.5cm
se
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John Constable
old sarum
1833 mezzotint engraving
20.4x28.3cm
se
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John Constable
Malvern Hall,
Malvern Hall, 1809, oil on canvas, Tate Gallery, London.
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John Constable
Constable MalvernHall
, 1809, oil on canvas
cyf
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John Constable
Beach of Brighton with sailing boats
1824(1824)
Oil on paper
14,9 x 24,8 cm
cjr
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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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