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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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Malvern Hall:The entrance front
mk82
c.1820
oil on canvas
54.6x78.1
Painting ID:: 33131
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Malvern_Hall:The_entrance_front
mk82
c.1820
oil on canvas
54.6x78.1
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Spring:East Bergholt Common
mk82
c.1821 or 1829
oil on oak wood panel
19x36.2
Painting ID:: 33132
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Spring:East_Bergholt_Common
mk82
c.1821 or 1829
oil on oak wood panel
19x36.2
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View from Hampstead Heath,Looking West
mk82
14 July 1821
Painting ID:: 33133
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View_from_Hampstead_Heath,Looking_West
mk82
14 July 1821
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View from Hampstead Heath,Looking towards Harrow August 1821
mk82
oil on paper laid on canvas
25x29.8
Painting ID:: 33134
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View_from_Hampstead_Heath,Looking_towards_Harrow_August_1821
mk82
oil on paper laid on canvas
25x29.8
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Cloud study,Hampstead,trees at ringt 11September 1821
mk82
oil on paper laid on board 24.1x29.9
Painting ID:: 33135
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Cloud_study,Hampstead,trees_at_ringt_11September_1821
mk82
oil on paper laid on board 24.1x29.9
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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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