|
|
|
John Constable The hay wain mk82
1821
oil on canvas
130.2x185.4cm
National Gallery,
London
|
|
|
|
|
|
|
|
|
|
John Constable A ploughing scene in Suffolk mk82
1814
|
|
|
|
|
|
|
|
|
|
John Constable The path to the church mk1821
oil on canvas
91.4x72.4cm
|
|
|
|
|
|
|
|
|
|
John Constable Branch Hill Pond mk82
oil on canvas
59.6x77.6cm
Victoria and Albert Museum,London
|
|
|
|
|
|
|
|
|
|
John Constable Water-meadow near Salisbury mk82
1829
Oil on canvas
45.7x55.3cm
|
|
|
|
|
|
|
|
|
|
John Constable Salisbury Cathedral from the Bishop's Ground mk82
1823
|
|
|
|
|
|
|
|
|
|
John Constable Boat-building near Flatford Mill mk82
1814-15
Oil on canvas
50.8x61.6cm
|
|
|
|
|
|
|
|
|
|
John Constable Full sale study for The hay wain mk82
c.1821
oil on canvas137x188
|
|
|
|
|
|
|
|
|
|
John Constable Brighton Beach,with colliers mk82
1842
oil on paper
14.9x24.8cm
|
|
|
|
|
|
|
|
|
|
John Constable Study of the trunk of an elm tree mk82
c.1821
oil on paper
30.6x24.8cm
|
|
|
|
|
|
|
|
|
|
John Constable Old Sarum mk82
1834
|
|
|
|
|
|
|
|
|
|
John Constable West End Fields,Hampstead,noon mk82
c.1821-22
|
|
|
|
|
|
|
|
|
|
John Constable Keswick mk82
c.1807
|
|
|
|
|
|
|
|
|
|
John Constable Clouds mk82
5 September 1822
|
|
|
|
|
|
|
|
|
|
John Constable The Quarters behind Alresford Hall mk82
1816
|
|
|
|
|
|
|
|
|
|
John Constable Hove Beach mk82
c.1842
|
|
|
|
|
|
|
|
|
|
John Constable John Constable mk82
c.1799
oil on canvas
76.2x63.8cm
National Portrait Gallery
|
|
|
|
|
|
|
|
|
|
John Constable Windermere mk82
1806
Watercolour and very faint pencil
20.2x37.8cm
|
|
|
|
|
|
|
|
|
|
John Constable The Castle Rock,Borrowdale mk82
1806
Watercolour and charcoal
26.8x36.3cm
|
|
|
|
|
|
|
|
|
|
John Constable Keswick,Lake mk82
c.1807
Oil on millboard inlaid into mahogany panel
26.5x44.7cm
|
|
|
|
|
|
|
|
| |
|
|
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
|