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 Hadleight Castle oil painting


Hadleight Castle
Date 1829(1829) Medium Oil on canvas Dimensions 123 x 167 cm cjr
Painting ID::  86057 		John Constable
Hadleight Castle
Date 1829(1829) Medium Oil on canvas Dimensions 123 x 167 cm cjr
   
   
     
John Constable Yarmouth Pier oil painting


Yarmouth Pier
Oil on Canvas. 12 x 20 in (30.5 x 50.8 cm). Date 1822(1822) cyf
Painting ID::  87066 		John Constable
Yarmouth Pier
Oil on Canvas. 12 x 20 in (30.5 x 50.8 cm). Date 1822(1822) cyf
   
   
     
John Constable Bootsbau in Flatford oil painting


Bootsbau in Flatford
Date 1815(1815) Medium Oil on canvas Dimensions 51 x 62 cm cjr
Painting ID::  87198 		John Constable
Bootsbau in Flatford
Date 1815(1815) Medium Oil on canvas Dimensions 51 x 62 cm cjr
   
   
     
John Constable A Lane near Flatford oil painting


A Lane near Flatford
between 1810(1810) and 1811(1811) Medium Oil on paper laid on canvas cyf
Painting ID::  87412 		John Constable
A Lane near Flatford
between 1810(1810) and 1811(1811) Medium Oil on paper laid on canvas cyf
   
   
     
John Constable Landscape with Cottages oil painting


Landscape with Cottages
1809-1810 Medium Oil on canvas Dimensions 15 x 29.2 cm (5.9 x 11.5 in) cyf
Painting ID::  87541 		John Constable
Landscape with Cottages
1809-1810 Medium Oil on canvas Dimensions 15 x 29.2 cm (5.9 x 11.5 in) 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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