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 Stour Valley and the church of Dedham oil painting


Stour Valley and the church of Dedham
MK169 1814-15 oil Paint on cloth 55x77.8cm Museum or Finn Physician.
Painting ID::  42756 		John Constable
Stour Valley and the church of Dedham
MK169 1814-15 oil Paint on cloth 55x77.8cm Museum or Finn Physician.
   
   
     
John Constable The jumping horse oil painting


The jumping horse
MK169 1824-24 oil Paint on cloth 142x187cm
Painting ID::  42757 		John Constable
The jumping horse
MK169 1824-24 oil Paint on cloth 142x187cm
   
   
     
John Constable Weymouth Bay Bowleaze Cove and Jordan Hill oil painting


Weymouth Bay Bowleaze Cove and Jordan Hill
mk170 1816-1817 Oil on canvas 53.3x74.9cm
Painting ID::  43314 		John Constable
Weymouth Bay Bowleaze Cove and Jordan Hill
mk170 1816-1817 Oil on canvas 53.3x74.9cm
   
   
     
John Constable The Cornfield oil painting


The Cornfield
mk170 1826 Oil on canvas 142.9x121.9cm
Painting ID::  43315 		John Constable
The Cornfield
mk170 1826 Oil on canvas 142.9x121.9cm
   
   
     
John Constable The Hay-Wain oil painting


The Hay-Wain
mk170 1821 Oil on canvas 130.2x185.4cm
Painting ID::  43316 		John Constable
The Hay-Wain
mk170 1821 Oil on canvas 130.2x185.4cm
   
   
     
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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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