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John Constable
Hampstead Heath with London in the distance
mk82
c.1827-30
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John Constable
Rainstorm over the sea
mk82
c.1824-28
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John Constable
The Vale of Dedham
mk82
1827-28
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John Constable
View towards the rectory
mk82
East Bergholt 30 September 1810
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John Constable
Hampstead Heath
mk82
Looking towards Harrow at Sunset 9 Autust 1823
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John Constable
Branch Hill Pond
mk82
Hampstead 1822
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John Constable
Stormy Sea
mk82
Brighton 20 July 1828
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John Constable
The Valley of the Stour at Sunset 31 October 1812
mk82
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John Constable
View from Hampstead Heath
mk82
looking toward Harrow August 1821
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John Constable
Cloud study
mk82
1822
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John Constable
A cottage in a cornfield
mk82
1815/1813
Oil on canvas
62x51.5cm
Victoria and Albert Museum,
London
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John Constable
A boat passing a lock
mk82
1826
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John Constable
Branch Hill Pond,Hampstead Heath with a boy sitting on a bank
mk82
c.1825-28
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John Constable
Harwich Lighthouse
mk82
c.1820
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John Constable
The Quarters'behind Alresford Hall
mk82
1816
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John Constable
A storm off the coast of Brighton
mk82
1824
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John Constable
Landscape with goatherd and goats
mk82
after Claude 1823
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John Constable
Road to The Spaniards
mk82
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John Constable
Keswick,Lake
mk82
c.1807
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John Constable
Windermere
mk82
1806
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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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