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John Constable The Lock (nn03) c 1824
Oil on canvas 142 x 120 cm 56 x 47 1/2 in Fundacion Coleccion Thyssen-Bornemisza Madrid
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John Constable Salisbury Cathedral from the Meadows mk49
1831
Oil on canvas
on loan to the National Gallery,London
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John Constable Dedham Lock and Mill mk68
Oil on canvas
London,Victoria and Albert Museum
1820
Britain
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John Constable View of Salisbury Cathedral Grounds from the Bishop's House mk68
Oil on canvas
London,
Victoria and Albert Museum
1823
Britain
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John Constable The White horse mk76
Dated 1819
Oil on canvas
51 3/4x74 1/8in
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John Constable Details of The White horse mk76
Dated 1819
Oil on canvas
51 3/4x74 1/8in
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John Constable Salisbury cathedral from the bishop's garden mk76
Dated 1826
Oil on canvas
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John Constable Chain Pier mk81
Brighton 1826-7
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John Constable Flatford Mill mk81
1816-17
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John Constable The Mill Stream mk81
c.1810
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John Constable A Cornfield mk81
1817
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John Constable Rainstorm over the sea mk82
c.1824-28
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John Constable View towards the rectory mk82
East Bergholt30September 1810
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John Constable A cottage in a cornfield mk82
c.1816-17
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John Constable A ploughing scene in Suffolk mk82
1814
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John Constable The wheatfield mk82
1816
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John Constable Srping East Bergholt Common mk82
c.1821 or 1829
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John Constable Weymouth Bay mk82
c.1819/1830
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John Constable Old Sarum mk84
1834
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John Constable West End Fields,Hampstead,noon mk82
c.1821-22
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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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