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Study of Clouds at Hampstead
new12/John Constable-983973.jpg
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Study_of_Clouds_at_Hampstead
mk141
1821
Oil on paper laid on board
24.2x29.8cm
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Dedham Mill
new16/John Constable-729692.jpg
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Dedham_Mill
mk156
1820
Oil on canvas
70x90.5cm
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Salisbury Cathedral from the Bishop-s Grounds
new16/John Constable-977737.jpg
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Salisbury_Cathedral_from_the_Bishop-s_Grounds
mk156
1823
Oil on canvas
88x112cm
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The Opening of Waterloo Bridge
new16/John Constable-579542.jpg
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The_Opening_of_Waterloo_Bridge
mk156
1932
Oil on canvas
130.8x218cm
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Sailsbury Cathedral From the Bishop-s Garden
new16/John Constable-925675.jpg
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Sailsbury_Cathedral_From_the_Bishop-s_Garden
mk161
Oil on canvas
34x44
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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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