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 Lock (nn03) oil painting


The Lock (nn03)
c 1824 Oil on canvas 142 x 120 cm 56 x 47 1/2 in Fundacion Coleccion Thyssen-Bornemisza Madrid
Painting ID::  23276 		John Constable
The Lock (nn03)
c 1824 Oil on canvas 142 x 120 cm 56 x 47 1/2 in Fundacion Coleccion Thyssen-Bornemisza Madrid
   
   
     
John Constable Salisbury Cathedral from the Meadows oil painting


Salisbury Cathedral from the Meadows
mk49 1831 Oil on canvas on loan to the National Gallery,London
Painting ID::  26358 		John Constable
Salisbury Cathedral from the Meadows
mk49 1831 Oil on canvas on loan to the National Gallery,London
   
   
     
John Constable Dedham Lock and Mill oil painting


Dedham Lock and Mill
mk68 Oil on canvas London,Victoria and Albert Museum 1820 Britain
Painting ID::  30676 		John Constable
Dedham Lock and Mill
mk68 Oil on canvas London,Victoria and Albert Museum 1820 Britain
   
   
     
John Constable View of Salisbury Cathedral Grounds from the Bishop's House oil painting


View of Salisbury Cathedral Grounds from the Bishop's House
mk68 Oil on canvas London, Victoria and Albert Museum 1823 Britain
Painting ID::  30681 		John Constable
View of Salisbury Cathedral Grounds from the Bishop's House
mk68 Oil on canvas London, Victoria and Albert Museum 1823 Britain
   
   
     
John Constable The White horse oil painting


The White horse
mk76 Dated 1819 Oil on canvas 51 3/4x74 1/8in
Painting ID::  31837 		John Constable
The White horse
mk76 Dated 1819 Oil on canvas 51 3/4x74 1/8in
   
   
     
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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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