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


The edge of a Heath by moonlight
Painting ID::  33110
The edge of a Heath by moonlight
mk82 oil on paper laid on canvas 15x25.7cm
mk82 oil_on_paper_laid_on_canvas 15x25.7cm
   
   
     

John Constable The Stour 27 September 1810 oil


The Stour 27 September 1810
Painting ID::  33111
The Stour 27 September 1810
mk82 oil on canvas 23.8x23.5cm
mk82 oil_on_canvas 23.8x23.5cm
   
   
     

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


View towards the rectory,East Bergholt 30 September 1810
Painting ID::  33112
View towards the rectory,East Bergholt 30 September 1810
mk82 oil on canvas laid on panel 15.6x24.8cm
mk82 oil_on_canvas_laid_on_panel_15.6x24.8cm
   
   
     

John Constable The Village fair,East Bergholt 1811 oil


The Village fair,East Bergholt 1811
Painting ID::  33113
The Village fair,East Bergholt 1811
mk82 oil on canvas 17.2x35.5cm
mk82 oil_on_canvas 17.2x35.5cm
   
   
     

John Constable Flatford Lock 1810-12 oil


Flatford Lock 1810-12
Painting ID::  33114
Flatford Lock 1810-12
mk82 Oil on canvas laid on board 18.7x24.4cm
mk82 Oil_on_canvas_laid_on_board_ 18.7x24.4cm
   
   
     

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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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