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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 Dedham Vale oil painting

Painting ID::  32974

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John Constable
Dedham Vale
mk82 1802 Oil on canvas 43.5x34.4cm
   
   
     

 

 

John Constable Boat-building near Flatford Mill oil painting

Painting ID::  32976

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John Constable
Boat-building near Flatford Mill
mk82 1814-15 Oil on canvas 50.8x61.6cm Victoria and Albert Museum, London
   
   
     

 

 

John Constable The edge of a heath by moonlight oil painting

Painting ID::  32977

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John Constable
The edge of a heath by moonlight
mk82 c.1810
   
   
     

 

 

John Constable Landscape with goatherd and goats oil painting

Painting ID::  32978

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John Constable
Landscape with goatherd and goats
mk82 after Claude 1823
   
   
     

 

 

John Constable Landscape oil painting

Painting ID::  32979

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John Constable
Landscape
mk82 after Teniers 1823
   
   
     

 

 

John Constable The wheatfield oil painting

Painting ID::  32982

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John Constable
The wheatfield
mk82 1816
   
   
     

 

 

John Constable A voat passing a lock oil painting

Painting ID::  32984

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John Constable
A voat passing a lock
mk82 1826
   
   
     

 

 

John Constable Study of A boat passing a lock oil painting

Painting ID::  32985

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John Constable
Study of A boat passing a lock
mk82 c.1826
   
   
     

 

 

John Constable The Lock oil painting

Painting ID::  32986

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John Constable
The Lock
mk82 1824 oil on canvas 142.2x120.7cm
   
   
     

 

 

John Constable horizon of trees 27September 1821 oil painting

Painting ID::  32987

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John Constable
horizon of trees 27September 1821
mk82
   
   
     

 

 

John Constable Evening oil painting

Painting ID::  32988

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John Constable
Evening
mk82 31 Auguse 1822
   
   
     

 

 

John Constable Branch Hill Pond oil painting

Painting ID::  32989

X 
 

John Constable
Branch Hill Pond
mk82 Hampstead 1819 oil on canvas 25.4x30cm
   
   
     

 

 

John Constable Rainstorm over the sea oil painting

Painting ID::  32990

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

 

 

John Constable London from Hampstead Heath in a storm,with a double rainbow oil painting

Painting ID::  32991

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John Constable
London from Hampstead Heath in a storm,with a double rainbow
mk82 June 1831
   
   
     

 

 

John Constable View on the Stour,Dedham Church in the distance oil painting

Painting ID::  32992

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John Constable
View on the Stour,Dedham Church in the distance
mk82 c.1832-36
   
   
     

 

 

John Constable A boat passing a lock oil painting

Painting ID::  32993

X 
 

John Constable
A boat passing a lock
mk82 1826
   
   
     

 

 

John Constable A boat passing a lock oil painting

Painting ID::  32995

X 
 

John Constable
A boat passing a lock
mk82 1826
   
   
     

 

 

John Constable THe WHite hose oil painting

Painting ID::  32996

X 
 

John Constable
THe WHite hose
mk82 1819 oil on canvas 131.5x188.3cm
   
   
     

 

 

John Constable The leaping horse oil painting

Painting ID::  32997

X 
 

John Constable
The leaping horse
mk82 1825 oil on canvas 142x187.3cm
   
   
     

 

 

John Constable The Opening of Wateloo Bridge oil painting

Painting ID::  32998

X 
 

John Constable
The Opening of Wateloo Bridge
mk82 c.1832 oil on canvas 130.8x218cm
   
   
     

 

       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