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 Flatford Mill from a lock on the Stour oil painting


Flatford Mill from a lock on the Stour
mk82 c.1811 oil on paper laid on canvas 26x35.5
Painting ID::  33116 		John Constable
Flatford Mill from a lock on the Stour
mk82 c.1811 oil on paper laid on canvas 26x35.5
   
   
     
John Constable The Valley of the Stour at sunset 31 October1812 oil painting


The Valley of the Stour at sunset 31 October1812
mk82 oil on canvas 11.7x28.4cm
Painting ID::  33117 		John Constable
The Valley of the Stour at sunset 31 October1812
mk82 oil on canvas 11.7x28.4cm
   
   
     
John Constable Autumnal sunset oil painting


Autumnal sunset
mk82 c.1812 oil on paper
Painting ID::  33118 		John Constable
Autumnal sunset
mk82 c.1812 oil on paper
   
   
     
John Constable Landscape study,cottage and rainbow oil painting


Landscape study,cottage and rainbow
mk82 c.1808-16
Painting ID::  33119 		John Constable
Landscape study,cottage and rainbow
mk82 c.1808-16
   
   
     
John Constable A ploughing scene in Suffolk oil painting


A ploughing scene in Suffolk
mk82 1814 oil on canvas 50.5x76.5
Painting ID::  33120 		John Constable
A ploughing scene in Suffolk
mk82 1814 oil on canvas 50.5x76.5
   
   
     
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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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