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 London from Hampstead Heath in a storm,with a double rainbow june 1831 oil painting


London from Hampstead Heath in a storm,with a double rainbow june 1831
mk82 watercolour with scraping out ,on grey paper 19.7x32
Painting ID::  33177 		John Constable
London from Hampstead Heath in a storm,with a double rainbow june 1831
mk82 watercolour with scraping out ,on grey paper 19.7x32
   
   
     
John Constable Old Sarum oil painting


Old Sarum
mk82 1834 watercolour with scraping out,on two conjoined sheets 30x48.7
Painting ID::  33178 		John Constable
Old Sarum
mk82 1834 watercolour with scraping out,on two conjoined sheets 30x48.7
   
   
     
John Constable Cowdray House:The Ruins 14 Septembr 1834 oil painting


Cowdray House:The Ruins 14 Septembr 1834
mk82 watercolour and pencil,on two conjoined sheers 26.5x27.4
Painting ID::  33179 		John Constable
Cowdray House:The Ruins 14 Septembr 1834
mk82 watercolour and pencil,on two conjoined sheers 26.5x27.4
   
   
     
John Constable View on the Stour,Dedham Church in the distance oil painting


View on the Stour,Dedham Church in the distance
mk82 c.1832-36
Painting ID::  33180 		John Constable
View on the Stour,Dedham Church in the distance
mk82 c.1832-36
   
   
     
John Constable Weymouth Bay oil painting


Weymouth Bay
mk82 c.1819/1830
Painting ID::  33181 		John Constable
Weymouth Bay
mk82 c.1819/1830
   
   
     
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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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