John Constable View of the grounds of Wivenhoe Park,Essex Painting ID:: 48604 new17/John Constable-966247.jpg
View of the grounds of Wivenhoe Park,Essex mk190
1816
the Seat of Major-General
John Constable The Flower Garden at East Bergholt House,Essex Painting ID:: 48619 new17/John Constable-964465.jpg
The Flower Garden at East Bergholt House,Essex mk190
1815
John Constable Unknown work Painting ID:: 48670 new18/John Constable-679734.jpg
Unknown work mk191
1827
Oil on canvas
127x183cm
John Constable Unknown work Painting ID:: 48671 new18/John Constable-985734.jpg
Unknown work mk191
Oil on canvas
1827
127x183cm
John Constable The Cornfield Painting ID:: 51368 new18/John Constable-439282.jpg
The Cornfield mk218
1826
Oil on canvas
143x122cm
John Constable Sketch for The Leaping Horse Painting ID:: 52461 new19/John Constable-578936.jpg
Sketch for The Leaping Horse 1824-25 Oil on canvas, 129 x 188 cm
John Constable A Boat at the Sluice Painting ID:: 52462 new19/John Constable-593593.jpg
A Boat at the Sluice Oil on canvas
John Constable The white hasten Painting ID:: 53881 new19/John Constable-692986.jpg
The white hasten mk234
probably
1819
130x188cm
John Constable Dedham seen from Langham Painting ID:: 53882 new19/John Constable-397394.jpg
Dedham seen from Langham mk234
about 1813
13.5x19cm
John Constable Hampstead Heat Painting ID:: 54518 new19/John Constable-296533.jpg
Hampstead Heat mk235
1824
Oil on canvas
John Constable The Hay Wain Painting ID:: 54520 new19/John Constable-448623.jpg
The Hay Wain mk235
1821
Oil on canvas
130.2x185.4cm
John Constable the hay wain Painting ID:: 56190 new20/John Constable-634356.jpg
the hay wain mk247
1821,oil on canvas,51.375x73 in,130.5x185.5 cm,national gallery ,london,uk
John Constable brighton beach with colliers Painting ID:: 56194 new20/John Constable-579838.jpg
brighton beach with colliers mk247
1824,oil on paper,5.875x9.75 in,14.9x24.8 cm,victoria and albert museum,london,uk
John Constable en studie av himmel och trad Painting ID:: 56521 new20/John Constable-539824.jpg
en studie av himmel och trad mk248 for constable innebar bimmelsiakttagelsiakttagelser att gora sma studier i olja av moln med detakjerade anteckningar skrivna pensselstreck ocb over lappen deferger, vilket gav djup at molnformationen, studierna var inte nodvadigtvis en del av en storre komposition utan atergav vader ljus ocb farg pa ett speciellt avsnitt av bimlen.
John Constable sadesfalrer Painting ID:: 56522 new20/John Constable-244548.jpg
sadesfalrer mk248 det befolkade landskapet var constables standiga motiv ovb det ban var mest fortrogen med. vagen till sadesfaltet ar samma som konstnaren gick langs nar ban skulle till skolan detta ar det suffolk som ban bar i sitt bjarta i bela sitt liv.sadesfalter foljer olika riktningar i tid ocb rymd. det vertikala fitrmatet styr askadarens blick fran pojken vid backen till mannen som skordar saden ocb slutligen till kyrktornet bland traden.den romantiske poeten wordswortb bifrog till den fond som kopte in malningen till nationak gallery i london.
John Constable Constable Dedham Vale of 1802 Painting ID:: 58414 new20/John Constable-623874.jpg
Constable Dedham Vale of 1802 Constable's Dedham Vale of 1802
John Constable Wivenhoe Park Painting ID:: 58415 new20/John Constable-594482.jpg
Wivenhoe Park Wivenhoe Park, 1816
John Constable Maria Bicknell Painting ID:: 58416 new20/John Constable-379722.jpg
Maria Bicknell Maria Bicknell, painted by Constable in 1816
John Constable Constable Weymouth Bay Painting ID:: 58417 new20/John Constable-623599.jpg
Constable Weymouth Bay Constable's Weymouth Bay, c. 1816
John Constable Constable The Hay Wain Painting ID:: 58418 new20/John Constable-525772.jpg
Constable The Hay Wain Constable's The Hay Wain of 1821
John Constable Constable The Cornfield of 1826 Painting ID:: 58419 new20/John Constable-636897.jpg
Constable The Cornfield of 1826 Constable's The Cornfield of 1826
John Constable Constable Seascape Study with Rain Cloud c.1824 Painting ID:: 58422 new20/John Constable-453525.jpg
Constable Seascape Study with Rain Cloud c.1824 Constable's Seascape Study with Rain Cloud c.1824
John Constable Salisbury Cathedral by John Constable Painting ID:: 58423 new20/John Constable-438289.jpg
Salisbury Cathedral by John Constable Salisbury Cathedral by John Constable, ca. 1825. As a gesture of appreciation for John Fisher, the Bishop of Salisbury, who commissioned this painting, Constable included the Bishop and his wife in the canvas. Their figures can be seen at the bottom left of the painting, behind the fence and under the shade of the trees.
John Constable ''Malvern Hall'' Painting ID:: 66249 new22/John Constable-748584.jpg
''Malvern Hall'' 1809, oil on canvas, Tate Gallery, London.
John Constable east bergholt rectory Painting ID:: 68838 new23/John Constable-787496.jpg
east bergholt rectory 1810 oil on canvas 15.5x24.5cm
se
John Constable old sarum Painting ID:: 68910 new23/John Constable-495384.jpg
old sarum 1833 mezzotint engraving
20.4x28.3cm
se
John Constable Malvern Hall, Painting ID:: 71920 new23/John Constable-348859.jpg
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