|
|
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
|
|
|
|
|
Painting ID:: 91127
Wolken-Studie
1822(1822)
Medium oil on paper
Dimensions 37 x 49 cm
cyf
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Painting ID:: 91969
Bootsbau in Flatford
1815(1815)
Medium oil on canvas
Dimensions 51 X 62 cm
cyf
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Painting ID:: 92503
Die Kathedrale von Salisbury vom Garten des Bischofs aus gesehen
1823(1823)
Medium oil on canvas
Dimensions 87,6 X 111,8 cm
cjr
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Painting ID:: 94964
Bowleaze Cove and Jordon Hill
1816 - 17
Type Oil on canvas
Dimensions 53 cm x 75 cm
cyf
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Painting ID:: 94969
Salisbury Cathedral from the Bishop s Grounds
1823 (1823)
Dimensions 87.6 cm x 111.8 cm
cyf
|
|
|
|
|
|
|
|
|
|
|
|
|
| Prev Artist Next Artist
|
|
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
. Related Artists to John Constable: | Giovanni Baglione | Edith Corbet | Martin Henri | Maurice cullen | Anthony Frederick Augustus Sandys |
|
|
