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John Constable The edge of a Heath by moonlight mk82
oil on paper laid on canvas
15x25.7cm
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John Constable The Stour 27 September 1810 mk82
oil on canvas
23.8x23.5cm
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John Constable View towards the rectory,East Bergholt 30 September 1810 mk82
oil on canvas laid on panel 15.6x24.8cm
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John Constable The Village fair,East Bergholt 1811 mk82
oil on canvas
17.2x35.5cm
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John Constable Flatford Lock 1810-12 mk82
Oil on canvas laid on board
18.7x24.4cm
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John Constable Flatford Mill from a lock on the Stour mk82
c.1811
oil on paper laid on canvas
26x35.5
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John Constable The Valley of the Stour at sunset 31 October1812 mk82
oil on canvas
11.7x28.4cm
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John Constable Autumnal sunset mk82
c.1812
oil on paper
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John Constable Landscape study,cottage and rainbow mk82
c.1808-16
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John Constable A ploughing scene in Suffolk mk82
1814
oil on canvas
50.5x76.5
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John Constable The Stour Valley and Dedham Village mk82
5 September 1814
oil on canvas
39.4x55.9
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John Constable A cart and horses,with a carter and a dog mk82
c.1814
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John Constable Dedham from near Gun Hill,Langham mk82
c.1815
oil on paper laid on canvas
25.1x30.5cm
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John Constable The wheatfield mk82
1816
oil on canvas
53.7x77.2cm
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John Constable A country lane,with a church in the distance mk82
1816
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John Constable The Quarters'behind Alresford Hall mk82
1816
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John Constable A cottage in a cornfield mk82
c.1815
pencil 10.2x7.9
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John Constable A cottage in a cornfield mk82
c.1816-17
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John Constable Weymouth Bay mk82
c.1819/1830
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John Constable Hanwich Lightouse mk82
c.1820
oil on canvas
32.7x50.2
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John Constable
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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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