John Constable

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 John Constable West End Fields,Hanpstend,noon oil painting artist
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     West End Fields,Hanpstend,noon
     new9/John Constable-482498.jpg
INCHES CM High Quality Museum Quality
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  West_End_Fields,Hanpstend,noon
mk82 c.1821-22

 John Constable Brighton Beach oil painting artist
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     Brighton Beach
     new9/John Constable-952593.jpg
INCHES CM High Quality Museum Quality
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48x72 120x180 $389 399

 

  Brighton_Beach
mk82 1824

 John Constable A ploughing scene in Suffolk oil painting artist
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     A ploughing scene in Suffolk
     new9/John Constable-732252.jpg
INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  A_ploughing_scene_in_Suffolk
mk82 1814

 John Constable Autumnal Sunset oil painting artist
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     Autumnal Sunset
     new9/John Constable-358337.jpg
INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  Autumnal_Sunset
mk82 c.1812

 John Constable Old Sarum at noon oil painting artist
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     Old Sarum at noon
     new9/John Constable-524578.jpg
INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  Old_Sarum_at_noon
mk82 20 july 1829

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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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