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 Sun bursting through dark clouds oil painting


Sun bursting through dark clouds
mk141 1821 Oil on paper laid on panel 21.2x29cm
Painting ID::  38764 		John Constable
Sun bursting through dark clouds
mk141 1821 Oil on paper laid on panel 21.2x29cm
   
   
     
John Constable A Vignette oil painting


A Vignette
mk141 1829 Oil on canvas
Painting ID::  38761 		John Constable
A Vignette
mk141 1829 Oil on canvas
   
   
     
John Constable Old Sarum oil painting


Old Sarum
mk141 1831/32 2nd plate
Painting ID::  38762 		John Constable
Old Sarum
mk141 1831/32 2nd plate
   
   
     
John Constable View into a Garden in Hampstead with a Red House beyond oil painting


View into a Garden in Hampstead with a Red House beyond
mk141 1821 Oil on canvas 35.5x30.5cm
Painting ID::  38763 		John Constable
View into a Garden in Hampstead with a Red House beyond
mk141 1821 Oil on canvas 35.5x30.5cm
   
   
     
John Constable Cloud Study over a horizon of trees oil painting


Cloud Study over a horizon of trees
mk141 1821 Oil on paper laid on board 24.8x29.2cm
Painting ID::  38765 		John Constable
Cloud Study over a horizon of trees
mk141 1821 Oil on paper laid on board 24.8x29.2cm
   
   
     
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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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