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John Constable
Malvern Hall:The entrance front
mk82
c.1820
oil on canvas
54.6x78.1
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John Constable
Spring:East Bergholt Common
mk82
c.1821 or 1829
oil on oak wood panel
19x36.2
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John Constable
View from Hampstead Heath,Looking West
mk82
14 July 1821
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John Constable
View from Hampstead Heath,Looking towards Harrow August 1821
mk82
oil on paper laid on canvas
25x29.8
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John Constable
Cloud study,Hampstead,trees at ringt 11September 1821
mk82
oil on paper laid on board 24.1x29.9
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John Constable
Hampstead Heath,sun setting over Harrow 12 September 1821
mk82
oil on paper laid on board 24.7x30.5cm
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John Constable
Cloud study,horizon of trees 27 September 1821
mk82
oil on paper laid on board 25.8x30.5cm
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John Constable
Road to the The Spaniards,Hampstead 2(9)July 1822
mk82
oil on paper laid on canvas 30.8x51.1
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John Constable
A View at Hampstead Evening 31 july 1822
mk82
oil on paper
16.5x29.8cm
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John Constable
Cloud Study evening 31 August 182
mk82
oil on paper
47x58
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John Constable
Cllouds 5 September 1822
mk82
oil on paper laid on cardboard
37x49
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John Constable
Cloud Study 6September 1822
mk82
oil on paper
24.4x30.7
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John Constable
Hampstead Heath looking to Harrwo
mk82
c.1821-22
oil on paper laid on canvas
29.5x48.3
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John Constable
West End Field,Hampstead,noon
mk82
c.1821-22
oil on canvas
33.2x52.4cm
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John Constable
Branch Hill Pond,Hampstead
mk82
c.1821-22
oil on canvas
24.5x39.4
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John Constable
Cloud Study
mk82
182
oil on paper
29.2x48.2
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John Constable
Cloud Study
mk82
1822
oil on paer
19.8x32
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John Constable
Salisbury Cathedral from the Bishop's Grounds
mk82
1823
oil on canvas
87.6x111.8
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John Constable
Landscape after Teniers
mk82
1823
oil on panel 16.8x22.6cm
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John Constable
Flatford Lock 19April 1823
mk82
pencil and grey wash,on two adjoining sheets from a sketchbook
17.2x31.7cm
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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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