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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 Hampstead Heath with London in the distance oil painting

Painting ID::  32954

X 
 

John Constable
Hampstead Heath with London in the distance
mk82 c.1827-30
   
   
     

 

 

John Constable Rainstorm over the sea oil painting

Painting ID::  32955

X 
 

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

 

 

John Constable The Vale of Dedham oil painting

Painting ID::  32956

X 
 

John Constable
The Vale of Dedham
mk82 1827-28
   
   
     

 

 

John Constable View towards the rectory oil painting

Painting ID::  32957

X 
 

John Constable
View towards the rectory
mk82 East Bergholt 30 September 1810
   
   
     

 

 

John Constable Hampstead Heath oil painting

Painting ID::  32958

X 
 

John Constable
Hampstead Heath
mk82 Looking towards Harrow at Sunset 9 Autust 1823
   
   
     

 

 

John Constable Branch Hill Pond oil painting

Painting ID::  32959

X 
 

John Constable
Branch Hill Pond
mk82 Hampstead 1822
   
   
     

 

 

John Constable Stormy Sea oil painting

Painting ID::  32960

X 
 

John Constable
Stormy Sea
mk82 Brighton 20 July 1828
   
   
     

 

 

John Constable The Valley of the Stour at Sunset 31 October 1812 oil painting

Painting ID::  32961

X 
 

John Constable
The Valley of the Stour at Sunset 31 October 1812
mk82
   
   
     

 

 

John Constable View from Hampstead Heath oil painting

Painting ID::  32962

X 
 

John Constable
View from Hampstead Heath
mk82 looking toward Harrow August 1821
   
   
     

 

 

John Constable Cloud study oil painting

Painting ID::  32963

X 
 

John Constable
Cloud study
mk82 1822
   
   
     

 

 

John Constable A cottage in a cornfield oil painting

Painting ID::  32964

X 
 

John Constable
A cottage in a cornfield
mk82 1815/1813 Oil on canvas 62x51.5cm Victoria and Albert Museum, London
   
   
     

 

 

John Constable A boat passing a lock oil painting

Painting ID::  32965

X 
 

John Constable
A boat passing a lock
mk82 1826
   
   
     

 

 

John Constable Branch Hill Pond,Hampstead Heath with a boy sitting on a bank oil painting

Painting ID::  32966

X 
 

John Constable
Branch Hill Pond,Hampstead Heath with a boy sitting on a bank
mk82 c.1825-28
   
   
     

 

 

John Constable Harwich Lighthouse oil painting

Painting ID::  32967

X 
 

John Constable
Harwich Lighthouse
mk82 c.1820
   
   
     

 

 

John Constable The Quarters'behind Alresford Hall oil painting

Painting ID::  32968

X 
 

John Constable
The Quarters'behind Alresford Hall
mk82 1816
   
   
     

 

 

John Constable A storm off the coast of Brighton oil painting

Painting ID::  32969

X 
 

John Constable
A storm off the coast of Brighton
mk82 1824
   
   
     

 

 

John Constable Landscape with goatherd and goats oil painting

Painting ID::  32970

X 
 

John Constable
Landscape with goatherd and goats
mk82 after Claude 1823
   
   
     

 

 

John Constable Road to The Spaniards oil painting

Painting ID::  32971

X 
 

John Constable
Road to The Spaniards
mk82
   
   
     

 

 

John Constable Keswick,Lake oil painting

Painting ID::  32972

X 
 

John Constable
Keswick,Lake
mk82 c.1807
   
   
     

 

 

John Constable Windermere oil painting

Painting ID::  32973

X 
 

John Constable
Windermere
mk82 1806
   
   
     

 

       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