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John Constable
The Lock (nn03)
c 1824
Oil on canvas 142 x 120 cm 56 x 47 1/2 in Fundacion Coleccion Thyssen-Bornemisza Madrid
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John Constable
Salisbury Cathedral from the Meadows
mk49
1831
Oil on canvas
on loan to the National Gallery,London
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John Constable
Dedham Lock and Mill
mk68
Oil on canvas
London,Victoria and Albert Museum
1820
Britain
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John Constable
View of Salisbury Cathedral Grounds from the Bishop's House
mk68
Oil on canvas
London,
Victoria and Albert Museum
1823
Britain
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John Constable
The White horse
mk76
Dated 1819
Oil on canvas
51 3/4x74 1/8in
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John Constable
Details of The White horse
mk76
Dated 1819
Oil on canvas
51 3/4x74 1/8in
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John Constable
Salisbury cathedral from the bishop's garden
mk76
Dated 1826
Oil on canvas
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John Constable
Chain Pier
mk81
Brighton 1826-7
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John Constable
Flatford Mill
mk81
1816-17
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John Constable
The Mill Stream
mk81
c.1810
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John Constable
A Cornfield
mk81
1817
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John Constable
Rainstorm over the sea
mk82
c.1824-28
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John Constable
View towards the rectory
mk82
East Bergholt30September 1810
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John Constable
A cottage in a cornfield
mk82
c.1816-17
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John Constable
A ploughing scene in Suffolk
mk82
1814
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John Constable
The wheatfield
mk82
1816
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John Constable
Srping East Bergholt Common
mk82
c.1821 or 1829
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John Constable
Weymouth Bay
mk82
c.1819/1830
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John Constable
Old Sarum
mk84
1834
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John Constable
West End Fields,Hampstead,noon
mk82
c.1821-22
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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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