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John Constable
Stoke-by-Nayland,Suffolk
mk82
c.1829-35
iron-gall ink wash and pancil
12.2x16.5
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John Constable
Hampstead Heath with London in the distance
mk82
c.1827-30
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John Constable
Church Farm
mk82
langham 1811-15
oil on canvas
19.7x28
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John Constable
The Glebe Farm
mk82
c.1830
oil on canvas
59.7x78.1
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John Constable
The Glebe Farm
mk82
1830
oil on canvas
49x62
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John Constable
London from Hampstead Heath in a storm,with a double rainbow june 1831
mk82
watercolour with scraping out ,on grey paper
19.7x32
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John Constable
Old Sarum
mk82
1834
watercolour with scraping out,on two conjoined sheets
30x48.7
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John Constable
Cowdray House:The Ruins 14 Septembr 1834
mk82
watercolour and pencil,on two conjoined sheers 26.5x27.4
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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
Weymouth Bay
mk82
c.1819/1830
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John Constable
West End Fields,Hanpstend,noon
mk82
c.1821-22
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John Constable
Brighton Beach
mk82
1824
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John Constable
A ploughing scene in Suffolk
mk82
1814
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John Constable
Autumnal Sunset
mk82
c.1812
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John Constable
Old Sarum at noon
mk82
20 july 1829
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John Constable
A windmill near Brighton
mk82
c.1828-29
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John Constable
Weymouth Bay
mk87
c.1816
Oil on canvas
53x75cm
London,National Gallery
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John Constable
Salisbury Cathedral from the Bishop-s Grounds
mk87
1828
Oil on canvas
34x44cm
Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
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John Constable
The Hay Wain
mk87
1821
Oil on canvas
130.5x185.5cm
London,Nationa Gallery
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John Constable
Dedham Lock and Mill
mk87
1820
Oil on canvas
53.7x76.2cm
London,Vicotria and Albert Museum
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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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