|
| | | Prev Artist Next Artist
|
|
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
|
|
|
|
|
| Click Image to Enlarge |
The edge of a Heath by moonlight
mk82
oil on paper laid on canvas
15x25.7cm
Painting ID:: 33110
|
|
|
The_edge_of_a_Heath_by_moonlight
mk82
oil on paper laid on canvas
15x25.7cm
|
|
|
|
| Click Image to Enlarge |
The Stour 27 September 1810
mk82
oil on canvas
23.8x23.5cm
Painting ID:: 33111
|
|
|
The_Stour_27_September_1810
mk82
oil on canvas
23.8x23.5cm
|
|
|
|
| Click Image to Enlarge |
View towards the rectory,East Bergholt 30 September 1810
mk82
oil on canvas laid on panel 15.6x24.8cm
Painting ID:: 33112
|
|
|
View_towards_the_rectory,East_Bergholt_30_September_1810
mk82
oil on canvas laid on panel 15.6x24.8cm
|
|
|
|
| Click Image to Enlarge |
The Village fair,East Bergholt 1811
mk82
oil on canvas
17.2x35.5cm
Painting ID:: 33113
|
|
|
The_Village_fair,East_Bergholt_1811
mk82
oil on canvas
17.2x35.5cm
|
|
|
|
| Click Image to Enlarge |
Flatford Lock 1810-12
mk82
Oil on canvas laid on board
18.7x24.4cm
Painting ID:: 33114
|
|
|
Flatford_Lock_1810-12
mk82
Oil on canvas laid on board
18.7x24.4cm
|
|
|
| Prev Artist Next Artist
|
|
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
|
|
|
ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
|
|
Wholesale China Oil Painting Wholesale Oil Painting China Xiamen Portrait Reproduction on canvas Chinese Oil Painting Wholesale
|
|
