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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John Constable Dedham Vale oil painting


Dedham Vale
mk82 1802 Oil on canvas 43.5x34.4cm
Painting ID::  32974
John Constable
Dedham Vale
mk82 1802 Oil on canvas 43.5x34.4cm
   
   
     

John Constable Boat-building near Flatford Mill oil painting


Boat-building near Flatford Mill
mk82 1814-15 Oil on canvas 50.8x61.6cm Victoria and Albert Museum, London
Painting ID::  32976
John Constable
Boat-building near Flatford Mill
mk82 1814-15 Oil on canvas 50.8x61.6cm Victoria and Albert Museum, London
   
   
     

John Constable The edge of a heath by moonlight oil painting


The edge of a heath by moonlight
mk82 c.1810
Painting ID::  32977
John Constable
The edge of a heath by moonlight
mk82 c.1810
   
   
     

John Constable Landscape with goatherd and goats oil painting


Landscape with goatherd and goats
mk82 after Claude 1823
Painting ID::  32978
John Constable
Landscape with goatherd and goats
mk82 after Claude 1823
   
   
     

John Constable Landscape oil painting


Landscape
mk82 after Teniers 1823
Painting ID::  32979
John Constable
Landscape
mk82 after Teniers 1823
   
   
     

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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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