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John Constable
The edge of a Heath by moonlight
mk82
oil on paper laid on canvas
15x25.7cm
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John Constable
The Stour 27 September 1810
mk82
oil on canvas
23.8x23.5cm
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John Constable
View towards the rectory,East Bergholt 30 September 1810
mk82
oil on canvas laid on panel 15.6x24.8cm
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John Constable
The Village fair,East Bergholt 1811
mk82
oil on canvas
17.2x35.5cm
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John Constable
Flatford Lock 1810-12
mk82
Oil on canvas laid on board
18.7x24.4cm
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John Constable
Flatford Mill from a lock on the Stour
mk82
c.1811
oil on paper laid on canvas
26x35.5
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John Constable
The Valley of the Stour at sunset 31 October1812
mk82
oil on canvas
11.7x28.4cm
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John Constable
Autumnal sunset
mk82
c.1812
oil on paper
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John Constable
Landscape study,cottage and rainbow
mk82
c.1808-16
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John Constable
A ploughing scene in Suffolk
mk82
1814
oil on canvas
50.5x76.5
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John Constable
The Stour Valley and Dedham Village
mk82
5 September 1814
oil on canvas
39.4x55.9
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John Constable
A cart and horses,with a carter and a dog
mk82
c.1814
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John Constable
Dedham from near Gun Hill,Langham
mk82
c.1815
oil on paper laid on canvas
25.1x30.5cm
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John Constable
The wheatfield
mk82
1816
oil on canvas
53.7x77.2cm
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John Constable
A country lane,with a church in the distance
mk82
1816
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John Constable
The Quarters'behind Alresford Hall
mk82
1816
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John Constable
A cottage in a cornfield
mk82
c.1815
pencil 10.2x7.9
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John Constable
A cottage in a cornfield
mk82
c.1816-17
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John Constable
Weymouth Bay
mk82
c.1819/1830
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John Constable
Hanwich Lightouse
mk82
c.1820
oil on canvas
32.7x50.2
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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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