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 Arundel Mill and Castle oil painting


Arundel Mill and Castle
1837 The Toledo Museum of Art, Toledo
Painting ID::  440 		John Constable
Arundel Mill and Castle
1837 The Toledo Museum of Art, Toledo
   
   
     
John Constable Stonehenge oil painting


Stonehenge
1836 V ictoria and Albert Museum, London
Painting ID::  441 		John Constable
Stonehenge
1836 V ictoria and Albert Museum, London
   
   
     
John Constable Wivenhoe Park, Essex oil painting


Wivenhoe Park, Essex
1816 National Gallery of Art, Washington DC
Painting ID::  456 		John Constable
Wivenhoe Park, Essex
1816 National Gallery of Art, Washington DC
   
   
     
John Constable Maria Bicknell oil painting


Maria Bicknell
1816 Tate Gallery, London
Painting ID::  457 		John Constable
Maria Bicknell
1816 Tate Gallery, London
   
   
     
John Constable Helmingham Dell (mk05) oil painting


Helmingham Dell (mk05)
Canvas 40 1/2 x 51''(103 x 129 cm)Acquired in 1948 R.F 1948-5
Painting ID::  20833 		John Constable
Helmingham Dell (mk05)
Canvas 40 1/2 x 51''(103 x 129 cm)Acquired in 1948 R.F 1948-5
   
   
     
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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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