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


       Prev  33  34  35  36  37  38  39  40  41  42   Next
  Prev Artist       Next Artist     

   
    

John Constable The Leaping Horse oil


The Leaping Horse
Painting ID::  38755
The Leaping Horse
mk141 1825 The Royal Academy of Arts,London
mk141 1825 The_Royal_Academy_of_Arts,London
   
   
     

John Constable Study of clouds at Hampstead oil


Study of clouds at Hampstead
Painting ID::  38756
Study of clouds at Hampstead
mk141 1821 Oil on canvas
mk141 1821 Oil_on_canvas
   
   
     

John Constable View in  Garden at Hampstead,with a Red House beyond oil


View in Garden at Hampstead,with a Red House beyond
Painting ID::  38757
View in Garden at Hampstead,with a Red House beyond
mk141 1821 Oil on canvas
mk141 1821 Oil_on_canvas
   
   
     

John Constable Hadleigh Castle oil


Hadleigh Castle
Painting ID::  38758
Hadleigh Castle
mk141 1829 Yale Center for British Art
mk141 1829 Yale_Center_for_British_Art
   
   
     

John Constable East Bergholt oil


East Bergholt
Painting ID::  38759
East Bergholt
mk141 1831 The Artist-s Birthplace
mk141 1831 The_Artist-s_Birthplace
   
   
     

       Prev  33  34  35  36  37  38  39  40  41  42   Next
Prev Artist       Next Artist     

     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

CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Frame Moulding Mirror Framed Stretched Paintings