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John Constable
The Valley Farm
mk87
1835
Oil on canvas
147.3x125cm
London,Tate Gallery
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John Constable
The Grove,or the Admiral-s House Hampstead
mk138
1821/22
Oil on canvas
60x50cm
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John Constable
Golding Constable-s Flower Garden
mk141
1815
Oil on canvas
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John Constable
Golding Constable-s Kitchen Garden
mk141
1815
Oil on canvas
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John Constable
A Study for The Leaping Horse
mk141
1824-25
Oil on canvas
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John Constable
The Leaping Horse
mk141
1825
The Royal Academy of Arts,London
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John Constable
Study of clouds at Hampstead
mk141
1821
Oil on canvas
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John Constable
View in Garden at Hampstead,with a Red House beyond
mk141
1821
Oil on canvas
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John Constable
Hadleigh Castle
mk141
1829
Yale Center for British Art
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John Constable
East Bergholt
mk141
1831
The Artist-s Birthplace
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John Constable
Sun bursting through dark clouds
mk141
1821
Oil on paper laid on panel
21.2x29cm
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John Constable
A Vignette
mk141
1829
Oil on canvas
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John Constable
Old Sarum
mk141
1831/32
2nd plate
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John Constable
View into a Garden in Hampstead with a Red House beyond
mk141
1821
Oil on canvas
35.5x30.5cm
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John Constable
Cloud Study over a horizon of trees
mk141
1821
Oil on paper laid on board
24.8x29.2cm
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John Constable
Study of Clouds at Hampstead
mk141
1821
Oil on paper laid on board
24.2x29.8cm
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John Constable
Dedham Mill
mk156
1820
Oil on canvas
70x90.5cm
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John Constable
Salisbury Cathedral from the Bishop-s Grounds
mk156
1823
Oil on canvas
88x112cm
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John Constable
The Opening of Waterloo Bridge
mk156
1932
Oil on canvas
130.8x218cm
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John Constable
Sailsbury Cathedral From the Bishop-s Garden
mk161
Oil on canvas
34x44
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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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