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 View of the grounds of Wivenhoe Park,Essex oil


View of the grounds of Wivenhoe Park,Essex
Painting ID::  48604
View of the grounds of Wivenhoe Park,Essex
mk190 1816 the Seat of Major-General
mk190 1816 the_Seat_of_Major-General
   
   
     

John Constable The Kitchen Garden at East Bergholt House,Essex oil


The Kitchen Garden at East Bergholt House,Essex
Painting ID::  48618
The Kitchen Garden at East Bergholt House,Essex
mk190 1815
mk190 1815
   
   
     

John Constable The Flower Garden at East Bergholt House,Essex oil


The Flower Garden at East Bergholt House,Essex
Painting ID::  48619
The Flower Garden at East Bergholt House,Essex
mk190 1815
mk190 1815
   
   
     

John Constable Unknown work oil


Unknown work
Painting ID::  48670
Unknown work
mk191 1827 Oil on canvas 127x183cm
mk191 1827 Oil_on_canvas 127x183cm
   
   
     

John Constable Unknown work oil


Unknown work
Painting ID::  48671
Unknown work
mk191 Oil on canvas 1827 127x183cm
mk191 Oil_on_canvas 1827 127x183cm
   
   
     

       Prev  38  39  40  41  42  43  44  45  46  47   Next
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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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