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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 edge of a Heath by moonlight oil painting

Painting ID::  33110

X 
 

John Constable
The edge of a Heath by moonlight
mk82 oil on paper laid on canvas 15x25.7cm
   
   
     

 

 

John Constable The Stour 27 September 1810 oil painting

Painting ID::  33111

X 
 

John Constable
The Stour 27 September 1810
mk82 oil on canvas 23.8x23.5cm
   
   
     

 

 

John Constable View towards the rectory,East Bergholt 30 September 1810 oil painting

Painting ID::  33112

X 
 

John Constable
View towards the rectory,East Bergholt 30 September 1810
mk82 oil on canvas laid on panel 15.6x24.8cm
   
   
     

 

 

John Constable The Village fair,East Bergholt 1811 oil painting

Painting ID::  33113

X 
 

John Constable
The Village fair,East Bergholt 1811
mk82 oil on canvas 17.2x35.5cm
   
   
     

 

 

John Constable Flatford Lock 1810-12 oil painting

Painting ID::  33114

X 
 

John Constable
Flatford Lock 1810-12
mk82 Oil on canvas laid on board 18.7x24.4cm
   
   
     

 

 

John Constable Flatford Mill from a lock on the Stour oil painting

Painting ID::  33116

X 
 

John Constable
Flatford Mill from a lock on the Stour
mk82 c.1811 oil on paper laid on canvas 26x35.5
   
   
     

 

 

John Constable The Valley of the Stour at sunset 31 October1812 oil painting

Painting ID::  33117

X 
 

John Constable
The Valley of the Stour at sunset 31 October1812
mk82 oil on canvas 11.7x28.4cm
   
   
     

 

 

John Constable Autumnal sunset oil painting

Painting ID::  33118

X 
 

John Constable
Autumnal sunset
mk82 c.1812 oil on paper
   
   
     

 

 

John Constable Landscape study,cottage and rainbow oil painting

Painting ID::  33119

X 
 

John Constable
Landscape study,cottage and rainbow
mk82 c.1808-16
   
   
     

 

 

John Constable A ploughing scene in Suffolk oil painting

Painting ID::  33120

X 
 

John Constable
A ploughing scene in Suffolk
mk82 1814 oil on canvas 50.5x76.5
   
   
     

 

 

John Constable The Stour Valley and Dedham Village oil painting

Painting ID::  33121

X 
 

John Constable
The Stour Valley and Dedham Village
mk82 5 September 1814 oil on canvas 39.4x55.9
   
   
     

 

 

John Constable A cart and horses,with a carter and a dog oil painting

Painting ID::  33122

X 
 

John Constable
A cart and horses,with a carter and a dog
mk82 c.1814
   
   
     

 

 

John Constable Dedham from near Gun Hill,Langham oil painting

Painting ID::  33123

X 
 

John Constable
Dedham from near Gun Hill,Langham
mk82 c.1815 oil on paper laid on canvas 25.1x30.5cm
   
   
     

 

 

John Constable The wheatfield oil painting

Painting ID::  33124

X 
 

John Constable
The wheatfield
mk82 1816 oil on canvas 53.7x77.2cm
   
   
     

 

 

John Constable A country lane,with a church in the distance oil painting

Painting ID::  33125

X 
 

John Constable
A country lane,with a church in the distance
mk82 1816
   
   
     

 

 

John Constable The Quarters'behind Alresford Hall oil painting

Painting ID::  33126

X 
 

John Constable
The Quarters'behind Alresford Hall
mk82 1816
   
   
     

 

 

John Constable A cottage in a cornfield oil painting

Painting ID::  33127

X 
 

John Constable
A cottage in a cornfield
mk82 c.1815 pencil 10.2x7.9
   
   
     

 

 

John Constable A cottage in a cornfield oil painting

Painting ID::  33128

X 
 

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

 

 

John Constable Weymouth Bay oil painting

Painting ID::  33129

X 
 

John Constable
Weymouth Bay
mk82 c.1819/1830
   
   
     

 

 

John Constable Hanwich Lightouse oil painting

Painting ID::  33130

X 
 

John Constable
Hanwich Lightouse
mk82 c.1820 oil on canvas 32.7x50.2
   
   
     

 

       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