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John Constable The wheatfield oil painting


The wheatfield
Painting ID::  32949
John Constable
The wheatfield
mk82 1816

   
   
     

John Constable Srping East Bergholt Common oil painting


Srping East Bergholt Common
Painting ID::  32950
John Constable
Srping East Bergholt Common
mk82 c.1821 or 1829

   
   
     

John Constable Weymouth Bay oil painting


Weymouth Bay
Painting ID::  32951
John Constable
Weymouth Bay
mk82 c.1819/1830

   
   
     

John Constable Old Sarum oil painting


Old Sarum
Painting ID::  32952
John Constable
Old Sarum
mk84 1834

   
   
     

John Constable West End Fields,Hampstead,noon oil painting


West End Fields,Hampstead,noon
Painting ID::  32953
John Constable
West End Fields,Hampstead,noon
mk82 c.1821-22

   
   
     

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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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     | Guan Zuolin of Macao | AMMANATI, Bartolomeo | William Aiken Walker |


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