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 The hay wain oil painting


The hay wain
mk82 1821 oil on canvas 130.2x185.4cm National Gallery, London
Painting ID::  32999 		John Constable
The hay wain
mk82 1821 oil on canvas 130.2x185.4cm National Gallery, London
   
   
     
John Constable A ploughing scene in Suffolk oil painting


A ploughing scene in Suffolk
mk82 1814
Painting ID::  33000 		John Constable
A ploughing scene in Suffolk
mk82 1814
   
   
     
John Constable The path to the church oil painting


The path to the church
mk1821 oil on canvas 91.4x72.4cm
Painting ID::  33001 		John Constable
The path to the church
mk1821 oil on canvas 91.4x72.4cm
   
   
     
John Constable Branch Hill Pond oil painting


Branch Hill Pond
mk82 oil on canvas 59.6x77.6cm Victoria and Albert Museum,London
Painting ID::  33003 		John Constable
Branch Hill Pond
mk82 oil on canvas 59.6x77.6cm Victoria and Albert Museum,London
   
   
     
John Constable Water-meadow near Salisbury oil painting


Water-meadow near Salisbury
mk82 1829 Oil on canvas 45.7x55.3cm
Painting ID::  33004 		John Constable
Water-meadow near Salisbury
mk82 1829 Oil on canvas 45.7x55.3cm
   
   
     
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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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