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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 Lock (nn03) oil painting

Painting ID::  23276

X 
 

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
   
   
     

 

 

John Constable Salisbury Cathedral from the Meadows oil painting

Painting ID::  26358

X 
 

John Constable
Salisbury Cathedral from the Meadows
mk49 1831 Oil on canvas on loan to the National Gallery,London
   
   
     

 

 

John Constable Dedham Lock and Mill oil painting

Painting ID::  30676

X 
 

John Constable
Dedham Lock and Mill
mk68 Oil on canvas London,Victoria and Albert Museum 1820 Britain
   
   
     

 

 

John Constable View of Salisbury Cathedral Grounds from the Bishop's House oil painting

Painting ID::  30681

X 
 

John Constable
View of Salisbury Cathedral Grounds from the Bishop's House
mk68 Oil on canvas London, Victoria and Albert Museum 1823 Britain
   
   
     

 

 

John Constable The White horse oil painting

Painting ID::  31837

X 
 

John Constable
The White horse
mk76 Dated 1819 Oil on canvas 51 3/4x74 1/8in
   
   
     

 

 

John Constable Details of The White horse oil painting

Painting ID::  31838

X 
 

John Constable
Details of The White horse
mk76 Dated 1819 Oil on canvas 51 3/4x74 1/8in
   
   
     

 

 

John Constable Salisbury cathedral from the bishop's garden oil painting

Painting ID::  31839

X 
 

John Constable
Salisbury cathedral from the bishop's garden
mk76 Dated 1826 Oil on canvas
   
   
     

 

 

John Constable Chain Pier oil painting

Painting ID::  32800

X 
 

John Constable
Chain Pier
mk81 Brighton 1826-7
   
   
     

 

 

John Constable Flatford Mill oil painting

Painting ID::  32836

X 
 

John Constable
Flatford Mill
mk81 1816-17
   
   
     

 

 

John Constable The Mill Stream oil painting

Painting ID::  32842

X 
 

John Constable
The Mill Stream
mk81 c.1810
   
   
     

 

 

John Constable A Cornfield oil painting

Painting ID::  32843

X 
 

John Constable
A Cornfield
mk81 1817
   
   
     

 

 

John Constable Rainstorm over the sea oil painting

Painting ID::  32944

X 
 

John Constable
Rainstorm over the sea
mk82 c.1824-28
   
   
     

 

 

John Constable View towards the rectory oil painting

Painting ID::  32945

X 
 

John Constable
View towards the rectory
mk82 East Bergholt30September 1810
   
   
     

 

 

John Constable A cottage in a cornfield oil painting

Painting ID::  32947

X 
 

John Constable
A cottage in a cornfield
mk82 c.1816-17
   
   
     

 

 

John Constable A ploughing scene in Suffolk oil painting

Painting ID::  32948

X 
 

John Constable
A ploughing scene in Suffolk
mk82 1814
   
   
     

 

 

John Constable The wheatfield oil painting

Painting ID::  32949

X 
 

John Constable
The wheatfield
mk82 1816
   
   
     

 

 

John Constable Srping East Bergholt Common oil painting

Painting ID::  32950

X 
 

John Constable
Srping East Bergholt Common
mk82 c.1821 or 1829
   
   
     

 

 

John Constable Weymouth Bay oil painting

Painting ID::  32951

X 
 

John Constable
Weymouth Bay
mk82 c.1819/1830
   
   
     

 

 

John Constable Old Sarum oil painting

Painting ID::  32952

X 
 

John Constable
Old Sarum
mk84 1834
   
   
     

 

 

John Constable West End Fields,Hampstead,noon oil painting

Painting ID::  32953

X 
 

John Constable
West End Fields,Hampstead,noon
mk82 c.1821-22
   
   
     

 

       Prev    1  2  3  4  5  6  7  8  9  10     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