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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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London from Hampstead Heath in a storm,with a double rainbow june 1831
mk82
watercolour with scraping out ,on grey paper
19.7x32
Painting ID:: 33177
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London_from_Hampstead_Heath_in_a_storm,with_a_double_rainbow_june_1831
mk82
watercolour with scraping out ,on grey paper
19.7x32
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Old Sarum
mk82
1834
watercolour with scraping out,on two conjoined sheets
30x48.7
Painting ID:: 33178
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Old_Sarum
mk82
1834
watercolour with scraping out,on two conjoined sheets
30x48.7
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Cowdray House:The Ruins 14 Septembr 1834
mk82
watercolour and pencil,on two conjoined sheers 26.5x27.4
Painting ID:: 33179
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Cowdray_House:The_Ruins_14_Septembr_1834
mk82
watercolour and pencil,on two conjoined sheers 26.5x27.4
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View on the Stour,Dedham Church in the distance
mk82
c.1832-36
Painting ID:: 33180
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View_on_the_Stour,Dedham_Church_in_the_distance
mk82
c.1832-36
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Weymouth Bay
mk82
c.1819/1830
Painting ID:: 33181
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Weymouth_Bay
mk82
c.1819/1830
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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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