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John Constable Salisbury Cathedral from the Meadows2 oil painting


Salisbury Cathedral from the Meadows2
Painting ID::  435
John Constable
Salisbury Cathedral from the Meadows2


   
   
     

John Constable The Valley Farm oil painting


The Valley Farm
Painting ID::  436
John Constable
The Valley Farm
1835 Tate Gallery, London

   
   
     

John Constable The Glebe Farm oil painting


The Glebe Farm
Painting ID::  437
John Constable
The Glebe Farm
1835 Tate Gallery, London

   
   
     

John Constable Whitehall Stairs on June 18, 1817 oil painting


Whitehall Stairs on June 18, 1817
Painting ID::  438
John Constable
Whitehall Stairs on June 18, 1817
1832

   
   
     

John Constable Parham Mill at Gillingham oil painting


Parham Mill at Gillingham
Painting ID::  439
John Constable
Parham Mill at Gillingham
1826 Yale Centre for British Art, New Haven,

   
   
     

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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

     Related Artists::.
     | Simon Dequoy | Charles Van Beveren | Saloman van Ruysdael |


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