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 Brighton Beach oil painting


Brighton Beach
mk82 1824 oil on paper laid on canvas 32.1x50.2
Painting ID::  33161 		John Constable
Brighton Beach
mk82 1824 oil on paper laid on canvas 32.1x50.2
   
   
     
John Constable Hove Beach,withfishing boats oil painting


Hove Beach,withfishing boats
mk82 c.1824 oil on paer laid on canvas 29.8x49.2
Painting ID::  33162 		John Constable
Hove Beach,withfishing boats
mk82 c.1824 oil on paer laid on canvas 29.8x49.2
   
   
     
John Constable A ploughing scene in Suffolk oil painting


A ploughing scene in Suffolk
mk82 c.1824 oil on canvas 42.5x76.2
Painting ID::  33163 		John Constable
A ploughing scene in Suffolk
mk82 c.1824 oil on canvas 42.5x76.2
   
   
     
John Constable Landscape with trees and deer,after Claude july 1825 oil painting


Landscape with trees and deer,after Claude july 1825
mk82 pen and brown ink,with brown and grey wash 28.8x20
Painting ID::  33164 		John Constable
Landscape with trees and deer,after Claude july 1825
mk82 pen and brown ink,with brown and grey wash 28.8x20
   
   
     
John Constable A boat passing a lock oil painting


A boat passing a lock
mk82 1826 oil on canvas 101.6x127
Painting ID::  33165 		John Constable
A boat passing a lock
mk82 1826 oil on canvas 101.6x127
   
   
     
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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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