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 Lane near Flatford oil painting


A Lane near Flatford
Date between 1810(1810) and 1811(1811) Medium Oil on paper laid on canvas Dimensions Height: 20 cm (7.9 in). Width: 31 cm (12.2 in). cjr
Painting ID::  83573 		John Constable
A Lane near Flatford
Date between 1810(1810) and 1811(1811) Medium Oil on paper laid on canvas Dimensions Height: 20 cm (7.9 in). Width: 31 cm (12.2 in). cjr
   
   
     
John Constable Seascape Study with Rain Cloud oil painting


Seascape Study with Rain Cloud
Date 1827(1827) Medium Oil on paper Dimensions 22,2 x 31,1 cm cjr
Painting ID::  85286 		John Constable
Seascape Study with Rain Cloud
Date 1827(1827) Medium Oil on paper Dimensions 22,2 x 31,1 cm cjr
   
   
     
John Constable Wivenhoe Park, Essex, Wohnsitz des Major-Generals Rebow oil painting


Wivenhoe Park, Essex, Wohnsitz des Major-Generals Rebow
Date 1816(1816) Medium Oil on canvas Dimensions 56,1 x 101,2 cm cjr
Painting ID::  85329 		John Constable
Wivenhoe Park, Essex, Wohnsitz des Major-Generals Rebow
Date 1816(1816) Medium Oil on canvas Dimensions 56,1 x 101,2 cm cjr
   
   
     
John Constable Branch hill Pond oil painting


Branch hill Pond
Oil on canvas. Date 1819(1819) cyf
Painting ID::  85471 		John Constable
Branch hill Pond
Oil on canvas. Date 1819(1819) cyf
   
   
     
John Constable The Close oil painting


The Close
Oil on paper. Date 1829(1829) cyf
Painting ID::  85473 		John Constable
The Close
Oil on paper. Date 1829(1829) cyf
   
   
     
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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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