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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John Constable View of Salisbury (mk05) oil painting


View of Salisbury (mk05)
Canvas ,14 1/4 x 20 1/2''(36 x 52 cm)Bequeathed in 1952 R.F 1952-25
Painting ID::  20837 		John Constable
View of Salisbury (mk05)
Canvas ,14 1/4 x 20 1/2''(36 x 52 cm)Bequeathed in 1952 R.F 1952-25
   
   
     
John Constable The White Horse (mk09) oil painting


The White Horse (mk09)
1819 OIl on canvas,131.4 x 188.3 cm New York,The Frick Collection
Painting ID::  21299 		John Constable
The White Horse (mk09)
1819 OIl on canvas,131.4 x 188.3 cm New York,The Frick Collection
   
   
     
John Constable Weymouth Bay (mk09) oil painting


Weymouth Bay (mk09)
c.1816 Oil on canvas,53 x 75 cm London,National Gallery
Painting ID::  21434 		John Constable
Weymouth Bay (mk09)
c.1816 Oil on canvas,53 x 75 cm London,National Gallery
   
   
     
John Constable Salisbury Cathedral from the Bishop's Grounds (mk09) oil painting


Salisbury Cathedral from the Bishop's Grounds (mk09)
1828 Oil on canvas,34 x 44 cm Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
Painting ID::  21435 		John Constable
Salisbury Cathedral from the Bishop's Grounds (mk09)
1828 Oil on canvas,34 x 44 cm Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
   
   
     
John Constable Dedham Lock and Mill (mk09) oil painting


Dedham Lock and Mill (mk09)
1820 Oil on canvas,53.7 x 76.2 cm London,Victoria and Albert Museum
Painting ID::  21436 		John Constable
Dedham Lock and Mill (mk09)
1820 Oil on canvas,53.7 x 76.2 cm London,Victoria and Albert Museum
   
   
     
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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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