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John Constable
Flowers in a glass vase, study
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Oil on paperboard
Dimensions 503 x 330 mm
c. 1814
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John Constable
Boats on the Stour, Dedham Church in the background
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circa 1811(1811)
Medium oil on canvas
Dimensions 26 x 31.1 cm (10.2 x 12.2 in)
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John Constable
Das Haus des Admirals in Hampstead
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1821-1822
Medium oil on canvas
Dimensions 60 x 50 cm
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John Constable
John Constable R.A., The Leaping Horse
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1825(1825)
Medium oil on canvas
Dimensions 142 x 187 cm
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John Constable
Das Stour-Tal mit der Kirche von Dedham
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1814-1815
Medium oil on canvas
Dimensions 55,3 x 78,1 cm
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John Constable
Das Waterloo-Fest in East Bergholt
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1st quarter of 19th century
Medium oil on canvas
Dimensions 23 x 33,5 cm
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John Constable
Der Heuwagen, Studie
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circa 1821(1821)
Medium oil on canvas
Dimensions 137 x 188 cm
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John Constable
Weymouth Bay
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1816(1816)
Medium oil on canvas
Dimensions 53,3 x 75 cm
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John Constable
Die Kathedrale von Salisbury vom Flub aus gesehen, mit dem Haus des Archidiakonus Fischer, Skizze
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1827(1827)
Medium oil on canvas
Dimensions 52,5 x 77 cm
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John Constable
Portrat der Maria Bicknell
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1816(1816)
Medium oil on canvas
Dimensions 30 x 25 cm
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John Constable
Schleuse und Muhle in Dedham
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1820
Medium oil on canvas
Dimensions Deutsch: 53,7 x 76,2 cm
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John Constable
The Chain Pier, Brighton
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1824-1827
Medium oil on canvas
Dimensions 127 x 183 cm
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John Constable
Cloud Study, Hampstead; Tree at Right, Royal Academy of Arts, London
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1821
Source repro from art book
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John Constable
Flatford Mill or Scene on a Navigable River
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Dimensions
1331 mm x 162 mm x 1583 mm
(52.4 in x 6.4 in x 62.3 in)
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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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