|
|
|
|
|
|
John Constable
Branch hill Pond, Hampstead
Branch hill Pond, Hampstead. Oil on canvas.
Date 1819(1819)
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
The Close, Salisbury
The Close, Salisbury. Oil on paper.
Date 1829(1829)
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Summer morning: Dedham from Langham
John Constable. Summer morning: Dedham from Langham. Oil on paper. Victoria and Albert Museum, London
Date C. 1812.
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Full-scale study for The Hay Wain
John Constable. Full-scale study for The Hay Wain. Oil on canvas. Victoria and Albert Museum, London
Date C. 1821
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Stoke-by-Nayland, Suffolk.
Stoke-by-Nayland, Suffolk. Oil on paper.
Date C. 1829/1830
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
A Lane near Flatford
Date between 1810(1810) and 1811(1811)
Medium Oil on paper laid on canvas
Dimensions Height: 20 cm (7.9 in). Width: 31 cm (12.2 in).
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Seascape Study with Rain Cloud
Date 1827(1827)
Medium Oil on paper
Dimensions 22,2 x 31,1 cm
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Wivenhoe Park, Essex, Wohnsitz des Major-Generals Rebow
Date 1816(1816)
Medium Oil on canvas
Dimensions 56,1 x 101,2 cm
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Branch hill Pond
Oil on canvas.
Date 1819(1819)
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
The Close
Oil on paper.
Date 1829(1829)
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Hadleight Castle
Date 1829(1829)
Medium Oil on canvas
Dimensions 123 x 167 cm
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Yarmouth Pier
Oil on Canvas. 12 x 20 in (30.5 x 50.8 cm).
Date 1822(1822)
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Bootsbau in Flatford
Date 1815(1815)
Medium Oil on canvas
Dimensions 51 x 62 cm
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
A Lane near Flatford
between 1810(1810) and 1811(1811)
Medium Oil on paper laid on canvas
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Landscape with Cottages
1809-1810
Medium Oil on canvas
Dimensions 15 x 29.2 cm (5.9 x 11.5 in)
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Die Valley Farm
c. 1835(1835)
Medium Oil on canvas
Dimensions 147 x 125 cm
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Zirruswolken
1821-1822
Medium Oil on paper
Dimensions 11,4 x 17,8 cm
cjr
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Wivenhoe Park
1816(1816)
Medium oil on canvas
Dimensions 56,1 x 101,2 cm
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Hadleight Castle
1829(1829)
Medium oil on canvas
Dimensions 123 x 167 cm
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John Constable
Portrait der Maria Bicknell
1816(1816)
Medium oil on canvas
Dimensions 30 x 25 cm
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| 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
|
