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 A windmill near Brighton oil painting


A windmill near Brighton
mk82 c.1828-29
Painting ID::  33187 		John Constable
A windmill near Brighton
mk82 c.1828-29
   
   
     
John Constable Weymouth Bay oil painting


Weymouth Bay
mk87 c.1816 Oil on canvas 53x75cm London,National Gallery
Painting ID::  33920 		John Constable
Weymouth Bay
mk87 c.1816 Oil on canvas 53x75cm London,National Gallery
   
   
     
John Constable Salisbury Cathedral from the Bishop-s Grounds oil painting


Salisbury Cathedral from the Bishop-s Grounds
mk87 1828 Oil on canvas 34x44cm Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
Painting ID::  33921 		John Constable
Salisbury Cathedral from the Bishop-s Grounds
mk87 1828 Oil on canvas 34x44cm Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
   
   
     
John Constable The Hay Wain oil painting


The Hay Wain
mk87 1821 Oil on canvas 130.5x185.5cm London,Nationa Gallery
Painting ID::  33922 		John Constable
The Hay Wain
mk87 1821 Oil on canvas 130.5x185.5cm London,Nationa Gallery
   
   
     
John Constable Dedham Lock and Mill oil painting


Dedham Lock and Mill
mk87 1820 Oil on canvas 53.7x76.2cm London,Vicotria and Albert Museum
Painting ID::  33923 		John Constable
Dedham Lock and Mill
mk87 1820 Oil on canvas 53.7x76.2cm London,Vicotria and Albert Museum
   
   
     
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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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