All John Constable Oil Paintings

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 Sun bursting through dark clouds oil on canvas


Sun bursting through dark clouds
Sun bursting through dark clouds
Painting ID::  38764
  mk141 1821 Oil on paper laid on panel 21.2x29cm
  mk141 1821 Oil on paper laid on panel 21.2x29cm

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John Constable A Vignette oil on canvas


A Vignette
A Vignette
Painting ID::  38761
  mk141 1829 Oil on canvas
  mk141 1829 Oil on canvas

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John Constable Old Sarum oil on canvas


Old Sarum
Old Sarum
Painting ID::  38762
  mk141 1831/32 2nd plate
  mk141 1831/32 2nd plate

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John Constable View into a Garden in Hampstead with a Red House beyond oil on canvas


View into a Garden in Hampstead with a Red House beyond
View into a Garden in Hampstead with a Red House beyond
Painting ID::  38763
  mk141 1821 Oil on canvas 35.5x30.5cm
  mk141 1821 Oil on canvas 35.5x30.5cm

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John Constable Cloud Study over a horizon of trees oil on canvas


Cloud Study over a horizon of trees
Cloud Study over a horizon of trees
Painting ID::  38765
  mk141 1821 Oil on paper laid on board 24.8x29.2cm
  mk141 1821 Oil on paper laid on board 24.8x29.2cm

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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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