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John Constable
Hampsted Heath,looking towards Harrow at sunset 9August 1823
mk82
oil on canvas
23x29
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John Constable
Landscape with goatherd and goats after Claude 1823
mk82
oil on canvas
53.3x44.3
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John Constable
Landscape study:Scene in a park
mk82
c.1823
oil on paper laid on canvas
24x26
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John Constable
Osmington Bay
mk82
c.1824
oil on canvas
34.5x51.8
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John Constable
Bright Beach with Shipping and a gig to june 1824
mk82
oil on paper laid on board
12.4x28.6
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John Constable
Brighton Beach 12 june 1824
mk82
oil on paper
12x29.7
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John Constable
Brighton Beach
mk82
c.1824
oil on paper laid on canvas
23.8x29.3
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John Constable
Rainstorm over the sea
mk82
c.1824-28
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John Constable
Coast scene,Brighton
mk82
c.1824-28
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John Constable
A storm off the coast of Brighton
mk82
1824
oil on paper laid on card
14.4x19.3
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John Constable
Brighton Beach
mk82
1824
oil on paper laid on canvas
32.1x50.2
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John Constable
Hove Beach,withfishing boats
mk82
c.1824
oil on paer laid on canvas
29.8x49.2
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John Constable
A ploughing scene in Suffolk
mk82
c.1824
oil on canvas
42.5x76.2
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John Constable
Landscape with trees and deer,after Claude july 1825
mk82
pen and brown ink,with brown and grey wash 28.8x20
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John Constable
A boat passing a lock
mk82
1826
oil on canvas
101.6x127
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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
Study of A boat passing a lock
mk82
c.1826
oil on canvas
103.5x129.9
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John Constable
The Vale of Dedham
mk82
1827-28
oil on canvas
145x122
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John Constable
Stormy Sea,Brighton 20 july 1828
mk82
oil on paper laid on canvas
14.5x23.5
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John Constable
A windmill near Brighton
mk82
c.1828-29
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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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