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 Die Valley Farm oil painting


Die Valley Farm
c. 1835(1835) Medium Oil on canvas Dimensions 147 x 125 cm cjr
Painting ID::  88163
John Constable
Die Valley Farm
c. 1835(1835) Medium Oil on canvas Dimensions 147 x 125 cm cjr
   
   
     

John Constable Zirruswolken oil painting


Zirruswolken
1821-1822 Medium Oil on paper Dimensions 11,4 x 17,8 cm cjr
Painting ID::  88999
John Constable
Zirruswolken
1821-1822 Medium Oil on paper Dimensions 11,4 x 17,8 cm cjr
   
   
     

John Constable Wivenhoe Park oil painting


Wivenhoe Park
1816(1816) Medium oil on canvas Dimensions 56,1 x 101,2 cm cyf
Painting ID::  89537
John Constable
Wivenhoe Park
1816(1816) Medium oil on canvas Dimensions 56,1 x 101,2 cm cyf
   
   
     

John Constable Hadleight Castle oil painting


Hadleight Castle
1829(1829) Medium oil on canvas Dimensions 123 x 167 cm cyf
Painting ID::  90116
John Constable
Hadleight Castle
1829(1829) Medium oil on canvas Dimensions 123 x 167 cm cyf
   
   
     

John Constable Portrait der Maria Bicknell oil painting


Portrait der Maria Bicknell
1816(1816) Medium oil on canvas Dimensions 30 x 25 cm cyf
Painting ID::  90990
John Constable
Portrait der Maria Bicknell
1816(1816) Medium oil on canvas Dimensions 30 x 25 cm 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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