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 Cloud Study oil


Cloud Study
Painting ID::  33146
Cloud Study
mk82 182 oil on paper 29.2x48.2
mk82 182 oil_on_paper 29.2x48.2
   
   
     

John Constable Cloud Study oil


Cloud Study
Painting ID::  33147
Cloud Study
mk82 1822 oil on paer 19.8x32
mk82 1822 oil_on_paer 19.8x32
   
   
     

John Constable Salisbury Cathedral from the Bishop's Grounds oil


Salisbury Cathedral from the Bishop's Grounds
Painting ID::  33148
Salisbury Cathedral from the Bishop's Grounds
mk82 1823 oil on canvas 87.6x111.8
mk82 1823 oil_on_canvas 87.6x111.8
   
   
     

John Constable Landscape after Teniers oil


Landscape after Teniers
Painting ID::  33149
Landscape after Teniers
mk82 1823 oil on panel 16.8x22.6cm
mk82 1823 oil_on_panel_16.8x22.6cm
   
   
     

John Constable Flatford Lock 19April 1823 oil


Flatford Lock 19April 1823
Painting ID::  33150
Flatford Lock 19April 1823
mk82 pencil and grey wash,on two adjoining sheets from a sketchbook 17.2x31.7cm
   
   
     

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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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