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 Leaping Horse oil painting


The Leaping Horse
mk141 1825 The Royal Academy of Arts,London
Painting ID::  38755 		John Constable
The Leaping Horse
mk141 1825 The Royal Academy of Arts,London
   
   
     
John Constable Study of clouds at Hampstead oil painting


Study of clouds at Hampstead
mk141 1821 Oil on canvas
Painting ID::  38756 		John Constable
Study of clouds at Hampstead
mk141 1821 Oil on canvas
   
   
     
John Constable View in Garden at Hampstead,with a Red House beyond oil painting


View in Garden at Hampstead,with a Red House beyond
mk141 1821 Oil on canvas
Painting ID::  38757 		John Constable
View in Garden at Hampstead,with a Red House beyond
mk141 1821 Oil on canvas
   
   
     
John Constable Hadleigh Castle oil painting


Hadleigh Castle
mk141 1829 Yale Center for British Art
Painting ID::  38758 		John Constable
Hadleigh Castle
mk141 1829 Yale Center for British Art
   
   
     
John Constable East Bergholt oil painting


East Bergholt
mk141 1831 The Artist-s Birthplace
Painting ID::  38759 		John Constable
East Bergholt
mk141 1831 The Artist-s Birthplace
   
   
     
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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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