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 Stour Valley and Dedham Village oil painting


The Stour Valley and Dedham Village
mk82 5 September 1814 oil on canvas 39.4x55.9
Painting ID::  33121 		John Constable
The Stour Valley and Dedham Village
mk82 5 September 1814 oil on canvas 39.4x55.9
   
   
     
John Constable A cart and horses,with a carter and a dog oil painting


A cart and horses,with a carter and a dog
mk82 c.1814
Painting ID::  33122 		John Constable
A cart and horses,with a carter and a dog
mk82 c.1814
   
   
     
John Constable Dedham from near Gun Hill,Langham oil painting


Dedham from near Gun Hill,Langham
mk82 c.1815 oil on paper laid on canvas 25.1x30.5cm
Painting ID::  33123 		John Constable
Dedham from near Gun Hill,Langham
mk82 c.1815 oil on paper laid on canvas 25.1x30.5cm
   
   
     
John Constable The wheatfield oil painting


The wheatfield
mk82 1816 oil on canvas 53.7x77.2cm
Painting ID::  33124 		John Constable
The wheatfield
mk82 1816 oil on canvas 53.7x77.2cm
   
   
     
John Constable A country lane,with a church in the distance oil painting


A country lane,with a church in the distance
mk82 1816
Painting ID::  33125 		John Constable
A country lane,with a church in the distance
mk82 1816
   
   
     
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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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