|
| | | 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 |
east bergholt rectory
1810 oil on canvas 15.5x24.5cm
se
Painting ID:: 68838
|
|
|
east_bergholt_rectory
1810 oil on canvas 15.5x24.5cm
se
|
|
|
|
| Click Image to Enlarge |
old sarum
1833 mezzotint engraving
20.4x28.3cm
se
Painting ID:: 68910
|
|
|
old_sarum
1833 mezzotint engraving
20.4x28.3cm
se
|
|
|
|
| Click Image to Enlarge |
Malvern Hall,
Malvern Hall, 1809, oil on canvas, Tate Gallery, London.
Painting ID:: 71920
|
|
|
Malvern_Hall,
Malvern Hall, 1809, oil on canvas, Tate Gallery, London.
|
|
|
|
| Click Image to Enlarge |
Constable MalvernHall
, 1809, oil on canvas
cyf
Painting ID:: 73204
|
|
|
Constable_MalvernHall
, 1809, oil on canvas
cyf
|
|
|
|
| Click Image to Enlarge |
Beach of Brighton with sailing boats
1824(1824)
Oil on paper
14,9 x 24,8 cm
cjr
Painting ID:: 80222
|
|
|
Beach_of_Brighton_with_sailing_boats
1824(1824)
Oil on paper
14,9 x 24,8 cm
cjr
|
|
|
| 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
|
|
