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Flatford Mill from a lock on the Stour
new9/John Constable-755357.jpg
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Flatford_Mill_from_a_lock_on_the_Stour
mk82
c.1811
oil on paper laid on canvas
26x35.5
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The Valley of the Stour at sunset 31 October1812
new9/John Constable-342647.jpg
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The_Valley_of_the_Stour_at_sunset_31_October1812
mk82
oil on canvas
11.7x28.4cm
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Autumnal sunset
new9/John Constable-427683.jpg
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Autumnal_sunset
mk82
c.1812
oil on paper
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Landscape study,cottage and rainbow
new9/John Constable-777992.jpg
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Landscape_study,cottage_and_rainbow
mk82
c.1808-16
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A ploughing scene in Suffolk
new9/John Constable-942447.jpg
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A_ploughing_scene_in_Suffolk
mk82
1814
oil on canvas
50.5x76.5
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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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