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 Flowers in a glass vase, study oil painting


Flowers in a glass vase, study
Oil on paperboard Dimensions 503 x 330 mm c. 1814
Painting ID::  98468 		John Constable
Flowers in a glass vase, study
Oil on paperboard Dimensions 503 x 330 mm c. 1814
   
   
     
John Constable Boats on the Stour, Dedham Church in the background oil painting


Boats on the Stour, Dedham Church in the background
circa 1811(1811) Medium oil on canvas Dimensions 26 x 31.1 cm (10.2 x 12.2 in)
Painting ID::  98469 		John Constable
Boats on the Stour, Dedham Church in the background
circa 1811(1811) Medium oil on canvas Dimensions 26 x 31.1 cm (10.2 x 12.2 in)
   
   
     
John Constable Das Haus des Admirals in Hampstead oil painting


Das Haus des Admirals in Hampstead
1821-1822 Medium oil on canvas Dimensions 60 x 50 cm
Painting ID::  98470 		John Constable
Das Haus des Admirals in Hampstead
1821-1822 Medium oil on canvas Dimensions 60 x 50 cm
   
   
     
John Constable John Constable R.A., The Leaping Horse oil painting


John Constable R.A., The Leaping Horse
1825(1825) Medium oil on canvas Dimensions 142 x 187 cm
Painting ID::  98471 		John Constable
John Constable R.A., The Leaping Horse
1825(1825) Medium oil on canvas Dimensions 142 x 187 cm
   
   
     
John Constable Das Stour-Tal mit der Kirche von Dedham oil painting


Das Stour-Tal mit der Kirche von Dedham
1814-1815 Medium oil on canvas Dimensions 55,3 x 78,1 cm
Painting ID::  98472 		John Constable
Das Stour-Tal mit der Kirche von Dedham
1814-1815 Medium oil on canvas Dimensions 55,3 x 78,1 cm
   
   
     
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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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