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Hampstead Heat
new19/John Constable-296533.jpg
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Hampstead_Heat
mk235
1824
Oil on canvas
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The Hay Wain
new19/John Constable-448623.jpg
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The_Hay_Wain
mk235
1821
Oil on canvas
130.2x185.4cm
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the hay wain
new20/John Constable-634356.jpg
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the_hay_wain
mk247
1821,oil on canvas,51.375x73 in,130.5x185.5 cm,national gallery ,london,uk
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brighton beach with colliers
new20/John Constable-579838.jpg
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brighton_beach_with_colliers
mk247
1824,oil on paper,5.875x9.75 in,14.9x24.8 cm,victoria and albert museum,london,uk
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en studie av himmel och trad
new20/John Constable-539824.jpg
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en_studie_av_himmel_och_trad
mk248 for constable innebar bimmelsiakttagelsiakttagelser att gora sma studier i olja av moln med detakjerade anteckningar skrivna pensselstreck ocb over lappen deferger, vilket gav djup at molnformationen, studierna var inte nodvadigtvis en del av en storre komposition utan atergav vader ljus ocb farg pa ett speciellt avsnitt av bimlen.
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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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