John Constable

John Constable, RA (/ˈkʌnstəbəl, ˈkɒn-/;[1] 11 June 1776 – 31 March 1837) was an English landscape painter in the naturalistic tradition. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".[2]

Constable's most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821.[3] Although his paintings are now among the most popular and valuable in British art, he was never financially successful. He became a member of the establishment after he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more than in his native England and inspired the Barbizon school.

John Constable
John Constable by Daniel Gardner, 1796
John Constable by Daniel Gardner, 1796
Born11 June 1776
East Bergholt, Suffolk, East Anglia, England
Died31 March 1837 (aged 60)
Charlotte Street, London, England
NationalityEnglish
Known forLandscape painting
Notable work
Dedham Vale (1802);
The Hay Wain (1821)
MovementNaturalism

Early career

ConstableSelfPortrait
John Constable, Self-portrait 1806, pencil on paper, Tate Gallery London. His only indisputable self-portrait, drawn by an arrangement of mirrors.[4]

John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex. Golding Constable owned a small ship, The Telegraph, which he moored at Mistley on the Stour estuary, and used to transport corn to London. He was a cousin of the London tea merchant, Abram Newman. Although Constable was his parents' second son, his older brother was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills.

In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, "made me a painter, and I am grateful"; "the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork, I love such things."[5] He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, which inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to the professional artist John Thomas Smith, who advised him on painting but also urged him to remain in his father's business rather than take up art professionally.

In 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections, and studied and copied old masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist.

In 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter:

For the last two years I have been running after pictures, and seeking the truth at second hand... I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men...There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.[6]

His early style has many qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the old masters he had studied, notably of Claude Lorrain.[7] Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips further afield.

By 1803, he was exhibiting paintings at the Royal Academy. In April he spent almost a month aboard the East Indiaman Coutts as it visited south-east ports while sailing from London to Deal before leaving for China.

In 1806 Constable undertook a two-month tour of the Lake District.[8] He told his friend and biographer, Charles Leslie, that the solitude of the mountains oppressed his spirits, and Leslie wrote:

His nature was peculiarly social and could not feel satisfied with scenery, however grand in itself, that did not abound in human associations. He required villages, churches, farmhouses and cottages.[9]

To make ends meet, Constable took up portraiture, which he found dull, though he executed many fine portraits. He also painted occasional religious pictures but, according to John Walker, "Constable's incapacity as a religious painter cannot be overstated."[10]

Constable adopted a routine of spending winter in London and painting at East Bergholt in summer. In 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings.

Marriage and later life

John Constable 022
Maria Bicknell, painted by Constable in 1816. Tate Britain

From 1809, his childhood friendship with Maria Elizabeth Bicknell developed into a deep, mutual love. Their marriage in 1816 when Constable was 40 was opposed by Maria's grandfather, Dr Rhudde, rector of East Bergholt. He considered the Constables his social inferiors and threatened Maria with disinheritance. Maria's father, Charles Bicknell, solicitor to King George IV and the Admiralty,[11] was reluctant to see Maria throw away her inheritance. Maria pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure. After they died in quick succession, Constable inherited a fifth share in the family business.

John Constable 027
Weymouth Bay (c. 1816). National Gallery, London

John and Maria's marriage in October 1816 at St Martin-in-the-Fields (with Fisher officiating) was followed by time at Fisher's vicarage and a honeymoon tour of the south coast. The sea at Weymouth and Brighton stimulated Constable to develop new techniques of brilliant colour and vivacious brushwork. At the same time, a greater emotional range began to be expressed in his art.[12]

Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, The White Horse, which led to a series of "six footers", as he called his large-scale paintings. That year he was elected an Associate of the Royal Academy. In 1821 he showed The Hay Wain (a view from Flatford Mill) at the Academy's exhibition. Théodore Géricault saw it on a visit to London and praised Constable in Paris, where a dealer, John Arrowsmith, bought four paintings, including The Hay Wain. It was exhibited at the Paris Salon of 1824, winning a gold medal.

Of Constable's colour, Delacroix wrote in his journal: "What he says here about the green of his meadows can be applied to every tone".[13] Delacroix repainted the background of his 1824 Massacre de Scio after seeing the Constables at Arrowsmith's Gallery, which he said had done him a great deal of good.[14]

In his lifetime, Constable sold only 20 paintings in England, but in France he sold more than 20 in just a few years. Despite this, he refused all invitations to travel internationally to promote his work, writing to Francis Darby: "I would rather be a poor man [in England] than a rich man abroad."[10] In 1825, perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the Seaside"[15]), and the pressure of numerous outstanding commissions, he quarrelled with Arrowsmith and lost his French outlet.

After the birth of their seventh child in January 1828, Maria fell ill and died of tuberculosis on 23 November at the age of 41. Intensely saddened, Constable wrote to his brother Golding, "hourly do I feel the loss of my departed Angel—God only knows how my children will be brought up...the face of the World is totally changed to me".[16]

Thereafter, he dressed in black and was, according to Leslie, "a prey to melancholy and anxious thoughts". He cared for his seven children alone for the rest of his life. The children were John Charles, Maria Louisa, Charles Golding, Isobel, Emma, Alfred, and Lionel. Only Charles Golding Constable produced offspring, a son.[17]

John Constable - The Quarters behind Alresford Hall - Google Art Project
John Constable – The Quarters behind Alresford Hall, 1816. National Gallery of Victoria, Melbourne

Shortly before Maria died, her father had also died, leaving her £20,000. Constable speculated disastrously with the money, paying for the engraving of several mezzotints of some of his landscapes in preparation for a publication. He was hesitant and indecisive, nearly fell out with his engraver, and when the folios were published, could not interest enough subscribers. Constable collaborated closely with the talented mezzotinter David Lucas on 40 prints after his landscapes, one of which went through 13 proof stages, corrected by Constable in pencil and paint. Constable said, "Lucas showed me to the public without my faults", but the venture was not a financial success.[18]

He was elected to the Royal Academy in February 1829, at the age of 52. In 1831 he was appointed Visitor at the Royal Academy, where he seems to have been popular with the students.

He began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of lectures at the Royal Institution, Constable proposed a three-fold thesis: firstly, landscape painting is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught.

He also spoke against the new Gothic Revival movement, which he considered mere "imitation".

In 1835, his last lecture to students of the Royal Academy, in which he praised Raphael and called the Academy the "cradle of British art", was "cheered most heartily".[19] He died on the night of 31 March 1837, apparently from heart failure, and was buried with Maria in the graveyard of St John-at-Hampstead Church in Hampstead in London. (His children John Charles Constable and Charles Golding Constable are also buried in this family tomb.)

The grave of John Constable, High Hampstead, London
Constable's tomb at the church of St John-at-Hampstead, London
The inscription on John Contable's tomb
The inscription on Constable's tomb

Locations

Bridge Cottage is a National Trust property, open to the public. Nearby Flatford Mill and Willy Lott's Cottage (the house visible in The Hay Wain) are used by the Field Studies Council for courses. The largest collection of original Constable paintings outside London is on display at Christchurch Mansion in Ipswich. Somerville College, Oxford is in possession of a portrait by Constable.

Art

John Constable 008
The Cornfield (1826) National Gallery, London

Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie, "When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture".[20]

Although Constable produced paintings throughout his life for the "finished" picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method. He was never satisfied with following a formula. "The world is wide", he wrote, "no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other."[21]

Constable painted many full-scale preliminary sketches of his landscapes to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The oil sketches of The Leaping Horse and The Hay Wain, for example, convey a vigour and expressiveness missing from Constable's finished paintings of the same subjects. Possibly more than any other aspect of Constable's work, the oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction.

John Constable - Stonehenge - Google Art Project
Stonehenge (1835). Victoria and Albert Museum, London

Constable's watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted.[21] When he exhibited it in 1836, Constable appended a text to the title: "The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period."[22]

Constable - Seascape Study with Rain Cloud
Seascape Study with Rain Cloud (c.1824). Royal Academy of Arts, London

In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and clouds, determined to become more scientific in his recording of atmospheric conditions. The power of his physical effects was sometimes apparent even in the full-scale paintings which he exhibited in London; The Chain Pier, 1827, for example, prompted a critic to write: "the atmosphere possesses a characteristic humidity about it, that almost imparts the wish for an umbrella".[2]

The sketches themselves were the first ever done in oils directly from the subject in the open air. To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he scumbled over lighter passages, creating an impression of sparkling light enveloping the entire landscape. One of the most expressionistic and powerful of all his studies is Seascape Study with Rain Cloud, painted about 1824 at Brighton, which captures with slashing dark brushstrokes the immediacy of an exploding cumulus shower at sea.[15] Constable also became interested in painting rainbow effects, for example in Salisbury Cathedral from the Meadows, 1831, and in Cottage at East Bergholt, 1833.

To the sky studies he added notes, often on the back of the sketches, of the prevailing weather conditions, direction of light, and time of day, believing that the sky was "the key note, the standard of scale, and the chief organ of sentiment" in a landscape painting.[23] In this habit he is known to have been influenced by the pioneering work of the meteorologist Luke Howard on the classification of clouds; Constable's annotations of his own copy of Researches About Atmospheric Phaenomena by Thomas Forster show him to have been fully abreast of meteorological terminology.[24] "I have done a good deal of skying", Constable wrote to Fisher on 23 October 1821; "I am determined to conquer all difficulties, and that most arduous one among the rest".[25]

Constable once wrote in a letter to Leslie, "My limited and abstracted art is to be found under every hedge, and in every lane, and therefore nobody thinks it worth picking up".[26] He could never have imagined how influential his honest techniques would turn out to be. Constable's art inspired not only contemporaries like Géricault and Delacroix, but the Barbizon School, and the French impressionists of the late nineteenth century.

Gallery

John Constable 006

Boat-building near Flatford Mill, 1815. Victoria and Albert Museum, London

John Constable - Salisbury Cathedral from the Bishop's Garden - Google Art Project

Salisbury Cathedral from the Bishop's Grounds c. 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. Frick Collection, New York

The Opening of Waterloo Bridge seen from Whitehall Stairs John Constable.jpeg

The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817, oil on canvas, c. 1832. Tate Britain

Selected paintings

See also Category:Paintings by John Constable for those with their own articles.

Notes

  1. ^ "Constable, John," Random House Webster's Unabridged Dictionary
  2. ^ a b Parkinson 1998, p. 9
  3. ^ Constable’s Wivenhoe Park is widely recognized as an important work in the artist’s career. Archived 29 November 2014 at the Wayback Machine
  4. ^ Parris, Fleming-Williams & Shields 1976, pp. 59–60
  5. ^ Parkinson 1998, p. 15
  6. ^ Thornes 1999, p. 96
  7. ^ Parkinson 1998, p. 17
  8. ^ Parkinson 1998, p. 18
  9. ^ Parkinson 1998, p. 22
  10. ^ a b Walker 1979
  11. ^ Information from Constable's gravestone
  12. ^ Parkinson 1998, p. 24
  13. ^ Kelder 1980, p. 27
  14. ^ Parkinson 1998, p. 132
  15. ^ a b Thornes 1999, p. 128
  16. ^ Parkinson 1998, p. 33
  17. ^ http://www.bomford.net/IrishBomfords/Chapters/Chapter33/chapter33.htm#33.5.1%C2%A0_The_Constable_Family_
  18. ^ Mayor 1980, nos 455–460
  19. ^ Parkinson 1998, p. 50
  20. ^ Thornes 1999, p. 51
  21. ^ a b Parkinson 1998, p. 64
  22. ^ Parkinson 1998, p. 89
  23. ^ Parkinson 1998, p. 110
  24. ^ Thornes 1999, p. 68
  25. ^ Thornes 1999, p. 56
  26. ^ Parkinson 1998, p. 129
  27. ^ "John Constable's Stour Valley location mystery solved". BBC News. 26 January 2010. Retrieved 26 January 2010.

Bibliography

  • Bailey, Anthony (2007), John Constable: A Kingdom of His Own, London: Vintage, ISBN 978-1-84413-833-3
  • Constable, Freda (1975), John Constable, Lavenham: Terence Dalton, ISBN 0-900963-54-9
  • Cormack, Malcolm (1986), Constable, Oxford: Phaidon, ISBN 0-7148-2350-3
  • Fleming-Williams, Ian (1976), Constable: Landscape Watercolours & Drawings, London: Tate, ISBN 0-905005-10-4
  • Fleming-Williams, Ian; Parris, Leslie (1984), The Discovery of Constable, London: Hamish Hamilton, ISBN 0-241-11248-6
  • Fraser, John Lloyd (1976), John Constable: 1776–1837, Newton Abbot, UK: Readers Union, ISBN 0-09-125540-6
  • Gayford, Martin (2009), Constable in Love: Love, Landscape, Money and the Making of a Great Painter, Fig Tree
  • Holmes, Charles John (2012), John Constable: Illustrated, Kindle: The Bookmill, ISBN 978-0-9567303-6-7
  • Kelder, Diane (1980), The Great Book of French Impressionism, New York: Abbeville Press, ISBN 0-89659-151-4
  • Leslie, C. R. (1995), Mayne, Jonathan (ed.), Memoirs of the Life of John Constable, London: Phaidon, ISBN 0-7148-3360-6
  • Lyles,, Anne, editor (2006), Constable: The great landscapes, London: Tate Publishing, ISBN 1-85437-635-7CS1 maint: Extra text: authors list (link)
  • Mayor, A. Hyatt (1980), Prints & People: A Social History of Printed Pictures (nos 455–60), Princeton, N. J.: Princeton University Press, ISBN 0-691-00326-2
  • Parkinson, Ronald (1998), John Constable: The Man and His Art, London: V&A, ISBN 1-85177-243-X
  • Parris, Leslie; Fleming-Williams, Ian (1991), Constable, London: Tate, ISBN 1-85437-070-7
  • Parris, Leslie; Fleming-Williams, Ian (1982), Lionel Constable, London: Tate, ISBN 0-905005-38-4
  • Parris, Leslie; Fleming-Williams, Ian; Shields, Conal (1976), Constable: Paintings, Watercolours & Drawings, London: Tate Gallery, ISBN 0-905005-15-5
  • Pool, Phoebe (1964), John Constable, London: Blandford, OCLC 3365016
  • Reynolds, Graham (1976), Constable: The Natural Painter, St Albans, UK: Panther, ISBN 0-586-04401-9
  • Reynolds, Graham (1983), Constable's England, New York, NY: Metropolitan Museum of Art, ISBN 9780870993350
  • Rhyne, Charles (2006), "The Remarkable Story of the 'Six-Foot Sketches'", Constable: The Great Landscapes, ed. Anne Lyles, London: Tate, ISBN 978-1-85437-635-0
  • Rhyne, Charles (1990), John Constable: Toward a Complete Chronology, Portland, Oregon: Author, ISBN 0-9627197-0-6
  • Rosenthal, Michael (1987), Constable, London: Thames and Hudson, ISBN 0-500-20211-7
  • Rosenthal, Michael (1983), Constable: The Painter and His Landscape, New Haven, CT.: Yale University Press, ISBN 0-300-03014-2
  • Smart, Alastair; Brooks, Attfield (1976), Constable and His Country, London: Elek, ISBN 0-236-40011-8
  • Sunderland, John (1986), Constable, London: Phaidon, ISBN 978-0-7148-2754-4
  • Thornes, John E. (1999), John Constable's Skies, Birmingham: University of Birmingham Press, ISBN 1-902459-02-4
  • Vaughan, William (2002), John Constable, London: Tate, ISBN 1-85437-434-6
  • Walker, John (1979), Constable, London: Thames and Hudson, ISBN 0-500-09133-1
  • Wilcox, Timothy (2011), Constable and Salisbury. The soul of landscape, London: Scala, ISBN 978-1-85759-678-6

External links

Beatriz, Duchess of Viseu

Infanta Beatriz of Portugal (13 June 1430 – 30 September 1506) was a Portuguese infanta, daughter of John, Constable of Portugal (fourth son of King John I of Portugal and his wife Philippa of Lancaster) and Isabella of Barcelos a daughter of Afonso I, Duke of Braganza.

Brightwell, Suffolk

Brightwell is a village and civil parish in the East Suffolk district, in the English county of Suffolk. It has a church called St John The Baptist. For transport there is the A12 road nearby. It is near the large town of Ipswich. Adjacent parishes include Foxhall, Bucklesham, Martlesham and Newbourne. The population at the 2011 Census was only minimal and is included in the civil parish of Foxhall.

In the fifteenth century Brightwell Manor was possessed by William Curzon. His son, Sir Robert Curzon, Knt., created a Baron of the Holy Roman Empire by the Emperor Maximilian for his gallantry against the Turks, was a Yorkist conspirator and declared a traitor in 1501, although was later back in favour at the English Court. It is possible that Brightwell was forfeited by him in 1501 as he is thereafter referred to as "of Ipswich".

Brightwell Hall was extensively remodelled about 1663 by Sir Samuel Barnardiston MP, leader of the Suffolk Whigs and a deputy Governor of the East India Company. It was demolished in about 1755 but traces of the park's parterres and garden walks still remain.

John Constable painted a landscape in oil in 1815 of Brightwell.

Dedham, Essex

Dedham is a village within the borough of Colchester in northeast Essex, England, on the River Stour and the border of Essex and Suffolk. The nearest town to Dedham is the small market town of Manningtree.

Dedham Vale

Dedham Vale is a designated Area of Outstanding Natural Beauty on the Essex-Suffolk border in east England. It comprises the area around the River Stour between Manningtree and Smallbridge Farm, 1 mile (1.6 km) east of Bures, including the village of Dedham in Essex.

It is part of the area known as Constable Country, as it was made famous by the paintings of the English Romantic painter John Constable. Among many other works of the area are his Dedham Vale paintings of 1802 and 1828, held in the Victoria and Albert Museum in London and the Scottish National Gallery in Edinburgh.

East Bergholt

East Bergholt is a village in the Babergh District of Suffolk, England, just north of the Essex border.

The nearest town and railway station is Manningtree, Essex. East Bergholt is ten miles north of Colchester and 8 miles south of Ipswich. Schools include East Bergholt High School, a comprehensive for children aged 11–16, and a primary school.

During the 16th century, its inhabitants became well known for Protestant radicalism A few of its citizens were martyred during the reign of Queen Mary I, and the Protestant martyrologist John Foxe recorded their stories in his famous work Acts and Monuments (also known as Foxe's Book of Martyrs).

East Bergholt is the birthplace of painter John Constable whose father owned Flatford Mill. Flatford and Dedham, Essex, both made famous by John Constable, are within walking distance of East Bergholt.

Flatford

Flatford is a small hamlet close to East Bergholt in Suffolk. It is most famous for Flatford Mill, Willy Lott's Cottage and Bridge Cottage, immortalised in the paintings of John Constable.

Flatford Mill

Flatford Mill is a Grade I listed watermill on the River Stour at Flatford in East Bergholt, Suffolk, England. According to the date-stone the mill was built in 1733, but some of the structure may be earlier. Attached to the mill is a 17th-century miller's cottage which is also Grade I listed. The property is in Dedham Vale, a typically English rural landscape.

The mill was owned by the artist John Constable's father and is noted, along with its immediate surroundings as the location for many of Constable's works. It is referred to in the title of one of his most iconic paintings, Flatford Mill (Scene on a Navigable River), and mentioned in the title or is the subject of several others including: Flatford Mill from a lock on the river Stour; Flatford Mill from the lock (A water mill); The Lock. The Hay Wain, which features Willy Lott's Cottage, was painted from the front of the mill.

The mill is located downstream from Bridge Cottage which, along with neighbouring Valley Farm and Willy Lott's Cottage, are leased to the Field Studies Council, a group that uses them as locations for arts, ecology and natural history based courses.

Furzy Cliff

Furzy Cliff is located on the coast near the village of Preston, just to the east of Weymouth, Dorset, England. It is at the northeastern end of Weymouth Beach, looking out over Weymouth Bay to Portland Harbour and the Isle of Portland. Close by to the east is Bowleaze Cove. Just inland to the north are Jordan Hill and the remains of the Jordan Hill Roman Temple. On the top of the cliff there is a large grass area with good views.Furzy Cliff consists of Oxford Clay with a thin Corallian Limestone layer over this. Mudslides frequently occur on the narrow undercliff and the base is mainly made up of clay material.

Fossilized examples of Gryphaea dilatata, commonly called "devil's toenail", an extinct species of Jurassic oyster, can be found in the Oxford Clay.

In 1816–17, the artist John Constable painted Weymouth Bay: Bowleaze Cove and Jordon Hill, including Furzy Cliff, while on his honeymoon, viewed from the beach at Bowlease and looking west. The painting is now in the National Gallery, London.

George Turner (artist)

George Turner (2 April 1841 – 29 March 1910) was an English landscape artist and farmer who has been dubbed "Derbyshire's John Constable".

John, Constable of Portugal

Infante John, Constable of Portugal (Portuguese: João, Portuguese pronunciation: [ʒuˈɐ̃w̃]; 13 January 1400 – 18 October 1442) was a Portuguese infante (prince) of the House of Aviz, Constable of Portugal and master of the Portuguese Order of St. James (Santiago). In Portugal, he is commonly referred to as the O Infante Condestável ("the Constable Prince").

John Fisher (bishop of Salisbury)

For the 16th century bishop of this name, see John Fisher. For other people of this name see John Fisher.John Fisher (1748, Hampton – 8 May 1825, Seymour Street, London), DD was a 19th-century Church of England bishop, serving as Bishop of Exeter, then Bishop of Salisbury.

Jordan Hill, Dorset

See also Jordan Hill (disambiguation).Jordan Hill (50 m) is located near the coast close to the village of Preston, just to the east of Weymouth, Dorset, England. The hill leads down to Furzy Cliff on the coast to the south. Close by to the east is Bowleaze Cove. The hill figure of the Osmington White Horse can be seen from the hill to the north.

In 1816–17, the artist John Constable painted Weymouth Bay: Bowleaze Cove and Jordon Hill while on his honeymoon, viewed from the beach looking west. The painting is now in the National Gallery, London.

There are the remains of a square 4th century Romano-Celtic temple on the hill, known as the Jordan Hill Roman Temple. This is now administered by English Heritage in a fenced off section with free access.

Osmington Mills

Osmington Mills is a coastal hamlet in the English county of Dorset. It lies within the civil parish of Osmington 5 miles (8.0 km) northeast of Weymouth.

The Cornfield

The Cornfield is an oil-on-canvas painting by the English artist John Constable. It was finished in 1826 and first exhibited at the Royal Academy that same year. It measures 143 by 122 cm and hangs in the National Gallery, London.

Constable referred to the painting as The Drinking Boy. It shows a lane leading from East Bergholt toward Dedham, Essex.

The Hay Wain

The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what in fact appears to be a wood wain or large farm wagon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.

The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.

The Lock (Constable)

The Lock is an oil painting by English artist John Constable, finished in 1824. It depicts a rural scene on the River Stour in Suffolk, one of six paintings within the Stour series.

It was auctioned for £22,441,250 at Christie's in London on 3 July 2012.

Weymouth Bay

Weymouth Bay is a sheltered bay on the south coast of England, in Dorset. It is protected from erosion by Chesil Beach and the Isle of Portland, and includes several beaches, notably Weymouth Beach, a gently curving arc of golden sand which stretches from the resort of Weymouth. Weymouth Bay is situated approximately halfway along the UNESCO Jurassic Coast World Heritage Site.

Willy Lott's Cottage

Willy Lott's Cottage is a house in Flatford, East Bergholt, Suffolk, England that features in several John Constable paintings, notably The Hay Wain. The earliest part of the building is sixteenth century.

The property is Grade I listed to reflect its importance "as part of the Flatford Mill group" and "its significance in the work of the artist John Constable".The Cottage was restored in the 1920s after a revival of interest in John Constable's paintings. It has been renamed Willy Lott's House because this is the name Constable used in his paintings. It is owned by the National Trust.The cottage is located on the bank of the River Stour, just downstream from Flatford Mill in the heart of Dedham Vale, a typically English rural landscape. Flatford Mill, along with neighbouring Valley Farm and Bridge Cottage, are leased to the Field Studies Council, which uses them as locations for arts-based courses such as painting and as accommodation for sciences-based courses such as residential ecology trips for schools at A-level and younger.

Wivenhoe Park (painting)

Wivenhoe Park is a painting of an English landscape park, the estate of the Rebow family, by the English Romantic painter, John Constable (1776–1837).John Constable was born in Suffolk, and is known principally for his landscape paintings, especially the landscapes of the countryside where he spent his childhood. His paintings are now considered among the most popular and valuable in British art.

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