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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 hay wain oil painting

Painting ID::  32999

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John Constable
The hay wain
mk82 1821 oil on canvas 130.2x185.4cm National Gallery, London
   
   
     

 

 

John Constable A ploughing scene in Suffolk oil painting

Painting ID::  33000

X 
 

John Constable
A ploughing scene in Suffolk
mk82 1814
   
   
     

 

 

John Constable The path to the church oil painting

Painting ID::  33001

X 
 

John Constable
The path to the church
mk1821 oil on canvas 91.4x72.4cm
   
   
     

 

 

John Constable Branch Hill Pond oil painting

Painting ID::  33003

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John Constable
Branch Hill Pond
mk82 oil on canvas 59.6x77.6cm Victoria and Albert Museum,London
   
   
     

 

 

John Constable Water-meadow near Salisbury oil painting

Painting ID::  33004

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John Constable
Water-meadow near Salisbury
mk82 1829 Oil on canvas 45.7x55.3cm
   
   
     

 

 

John Constable Salisbury Cathedral from the Bishop's Ground oil painting

Painting ID::  33005

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John Constable
Salisbury Cathedral from the Bishop's Ground
mk82 1823
   
   
     

 

 

John Constable Boat-building near Flatford Mill oil painting

Painting ID::  33006

X 
 

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 oil painting

Painting ID::  33007

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John Constable
Full sale study for The hay wain
mk82 c.1821 oil on canvas137x188
   
   
     

 

 

John Constable Brighton Beach,with colliers oil painting

Painting ID::  33008

X 
 

John Constable
Brighton Beach,with colliers
mk82 1842 oil on paper 14.9x24.8cm
   
   
     

 

 

John Constable Study of the trunk of an elm tree oil painting

Painting ID::  33009

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John Constable
Study of the trunk of an elm tree
mk82 c.1821 oil on paper 30.6x24.8cm
   
   
     

 

 

John Constable Old Sarum oil painting

Painting ID::  33010

X 
 

John Constable
Old Sarum
mk82 1834
   
   
     

 

 

John Constable West End Fields,Hampstead,noon oil painting

Painting ID::  33011

X 
 

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

 

 

John Constable Keswick oil painting

Painting ID::  33102

X 
 

John Constable
Keswick
mk82 c.1807
   
   
     

 

 

John Constable Clouds oil painting

Painting ID::  33103

X 
 

John Constable
Clouds
mk82 5 September 1822
   
   
     

 

 

John Constable The Quarters behind Alresford Hall oil painting

Painting ID::  33104

X 
 

John Constable
The Quarters behind Alresford Hall
mk82 1816
   
   
     

 

 

John Constable Hove Beach oil painting

Painting ID::  33105

X 
 

John Constable
Hove Beach
mk82 c.1842
   
   
     

 

 

John Constable John Constable oil painting

Painting ID::  33106

X 
 

John Constable
John Constable
mk82 c.1799 oil on canvas 76.2x63.8cm National Portrait Gallery
   
   
     

 

 

John Constable Windermere oil painting

Painting ID::  33107

X 
 

John Constable
Windermere
mk82 1806 Watercolour and very faint pencil 20.2x37.8cm
   
   
     

 

 

John Constable The Castle Rock,Borrowdale oil painting

Painting ID::  33108

X 
 

John Constable
The Castle Rock,Borrowdale
mk82 1806 Watercolour and charcoal 26.8x36.3cm
   
   
     

 

 

John Constable Keswick,Lake oil painting

Painting ID::  33109

X 
 

John Constable
Keswick,Lake
mk82 c.1807 Oil on millboard inlaid into mahogany panel 26.5x44.7cm
   
   
     

 

       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