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John Constable
The hay wain
mk82
1821
oil on canvas
130.2x185.4cm
National Gallery,
London
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John Constable
A ploughing scene in Suffolk
mk82
1814
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John Constable
The path to the church
mk1821
oil on canvas
91.4x72.4cm
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John Constable
Branch Hill Pond
mk82
oil on canvas
59.6x77.6cm
Victoria and Albert Museum,London
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John Constable
Water-meadow near Salisbury
mk82
1829
Oil on canvas
45.7x55.3cm
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John Constable
Salisbury Cathedral from the Bishop's Ground
mk82
1823
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John Constable
Boat-building near Flatford Mill
mk82
1814-15
Oil on canvas
50.8x61.6cm
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John Constable
Full sale study for The hay wain
mk82
c.1821
oil on canvas137x188
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John Constable
Brighton Beach,with colliers
mk82
1842
oil on paper
14.9x24.8cm
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John Constable
Study of the trunk of an elm tree
mk82
c.1821
oil on paper
30.6x24.8cm
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John Constable
Old Sarum
mk82
1834
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John Constable
West End Fields,Hampstead,noon
mk82
c.1821-22
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John Constable
Keswick
mk82
c.1807
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John Constable
Clouds
mk82
5 September 1822
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John Constable
The Quarters behind Alresford Hall
mk82
1816
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John Constable
Hove Beach
mk82
c.1842
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John Constable
John Constable
mk82
c.1799
oil on canvas
76.2x63.8cm
National Portrait Gallery
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John Constable
Windermere
mk82
1806
Watercolour and very faint pencil
20.2x37.8cm
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John Constable
The Castle Rock,Borrowdale
mk82
1806
Watercolour and charcoal
26.8x36.3cm
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John Constable
Keswick,Lake
mk82
c.1807
Oil on millboard inlaid into mahogany panel
26.5x44.7cm
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| 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
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