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Stour Valley and the church of Dedham
new16/John Constable-363667.jpg
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Stour_Valley_and_the_church_of_Dedham
MK169
1814-15
oil Paint on cloth 55x77.8cm Museum or Finn Physician.
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The jumping horse
new16/John Constable-683863.jpg
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The_jumping_horse
MK169
1824-24
oil Paint on cloth 142x187cm
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Weymouth Bay Bowleaze Cove and Jordan Hill
new16/John Constable-393564.jpg
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Weymouth_Bay_Bowleaze_Cove_and_Jordan_Hill
mk170
1816-1817
Oil on canvas
53.3x74.9cm
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The Cornfield
new16/John Constable-738992.jpg
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The_Cornfield
mk170
1826
Oil on canvas
142.9x121.9cm
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The Hay-Wain
new16/John Constable-333635.jpg
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The_Hay-Wain
mk170
1821
Oil on canvas
130.2x185.4cm
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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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