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John Constable
Dedham Vale
mk82
1802
Oil on canvas
43.5x34.4cm
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John Constable
Boat-building near Flatford Mill
mk82
1814-15
Oil on canvas
50.8x61.6cm
Victoria and Albert Museum,
London
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John Constable
The edge of a heath by moonlight
mk82
c.1810
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John Constable
Landscape with goatherd and goats
mk82
after Claude 1823
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John Constable
Landscape
mk82
after Teniers 1823
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John Constable
The wheatfield
mk82
1816
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John Constable
A voat passing a lock
mk82
1826
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John Constable
Study of A boat passing a lock
mk82
c.1826
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John Constable
The Lock
mk82
1824
oil on canvas
142.2x120.7cm
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John Constable
horizon of trees 27September 1821
mk82
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John Constable
Evening
mk82
31 Auguse 1822
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John Constable
Branch Hill Pond
mk82
Hampstead 1819
oil on canvas
25.4x30cm
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John Constable
Rainstorm over the sea
mk82
c.1824-28
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John Constable
London from Hampstead Heath in a storm,with a double rainbow
mk82
June 1831
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John Constable
View on the Stour,Dedham Church in the distance
mk82
c.1832-36
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John Constable
A boat passing a lock
mk82
1826
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John Constable
A boat passing a lock
mk82
1826
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John Constable
THe WHite hose
mk82
1819
oil on canvas
131.5x188.3cm
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John Constable
The leaping horse
mk82
1825
oil on canvas
142x187.3cm
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John Constable
The Opening of Wateloo Bridge
mk82
c.1832
oil on canvas
130.8x218cm
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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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