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 Hampsted Heath,looking towards Harrow at sunset 9August 1823 oil painting


Hampsted Heath,looking towards Harrow at sunset 9August 1823
mk82 oil on canvas 23x29
Painting ID::  33151
John Constable
Hampsted Heath,looking towards Harrow at sunset 9August 1823
mk82 oil on canvas 23x29
   
   
     

John Constable Landscape with goatherd and goats after Claude 1823 oil painting


Landscape with goatherd and goats after Claude 1823
mk82 oil on canvas 53.3x44.3
Painting ID::  33152
John Constable
Landscape with goatherd and goats after Claude 1823
mk82 oil on canvas 53.3x44.3
   
   
     

John Constable Landscape study:Scene in a park oil painting


Landscape study:Scene in a park
mk82 c.1823 oil on paper laid on canvas 24x26
Painting ID::  33153
John Constable
Landscape study:Scene in a park
mk82 c.1823 oil on paper laid on canvas 24x26
   
   
     

John Constable Osmington Bay oil painting


Osmington Bay
mk82 c.1824 oil on canvas 34.5x51.8
Painting ID::  33154
John Constable
Osmington Bay
mk82 c.1824 oil on canvas 34.5x51.8
   
   
     

John Constable Bright Beach with Shipping and a gig to june 1824 oil painting


Bright Beach with Shipping and a gig to june 1824
mk82 oil on paper laid on board 12.4x28.6
Painting ID::  33155
John Constable
Bright Beach with Shipping and a gig to june 1824
mk82 oil on paper laid on board 12.4x28.6
   
   
     

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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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