John Constable

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John Constable England, 1776 - 1837 Die Valley Farm 1835, Oil On Canvas, Style: Romanticism, Genre: landscape, 147 x 125 cm Oil Painting ID: 28746 Brighton Beach with Colliers II Oil Painting Reproduction on Canvas Oil Painting ID: 28747 Stonehenge Oil On Canvas Oil Painting ID: 28748 A Mill at Gillingham in Dorset c.1826, Oil On Canvas, Style: Romanticism, Genre: landscape, 24.8 x 30.2 cm Oil Painting ID: 28749 Salisbury Cathedral from the Meadows II Oil On Canvas Oil Painting ID: 28750 Wivenhoe Park, Essex II Oil On Canvas Oil Painting ID: 28751 1/4 The Cornfield II 1826, Oil On Canvas, 143 X 122 cm Oil Painting ID: 28752 A Water Mill, II Oil On Canvas, The Corcoran Gallery of Art, Washington DC, USA Oil Painting ID: 28753 The Glebe Farm II c.1830, Oil On Canvas Oil Painting ID: 28754 Hadleigh Castle II 1829, Oil On Canvas Oil Painting ID: 28755 Hampstead Heath, looking towards Harrow 1821, Oil On Canvas Oil Painting ID: 28756 Harnham Gate, Salisbury c.1820-21, Oil On Canvas, Yale Centre for British Art, Hartford, Connecticut, USA Oil Painting ID: 28757 Helmingham Dell Oil On Canvas Oil Painting ID: 28758 2/4 The Lock 142.2 X 120.7 cm (56 X 47.5 in), Oil On Canvas, This painting shows the lock at Flatford Mill, on the River Stour in Suffolk. Oil Painting ID: 28759 Dedham Lock and Mill 1820, Oil On Canvas Oil Painting ID: 28760 On the River Stour 1834-37, Oil On Canvas, 24 X 31 cm Oil Painting ID: 28761 Pond in Branchhill Oil On Canvas Oil Painting ID: 28762 Seascape Study with Rain Cloud 1827, Medium: oil on paper, 22.2 X 31.1 cm Oil Painting ID: 28763 A View On The Stour Near Dedham II 1822, Oil On Canvas, Style: Romanticism, Genre: landscape, 129.5 x 188 cm Oil Painting ID: 28764 The Stour 1810, oil on canvas, 23.8 x 23.5 cm Oil Painting ID: 28765 3/4 The Opening of Waterloo Bridge 1829, Oil on canvas, 24 3/8 x 39 in (62 x 99 cm), Yale Center for British Art, New Haven Oil Painting ID: 28766 • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • We can also create custom portrait painting especially for you from photos or digital images. • If you can't find what you are looking for? Please Click here for upload images for request a quote. URL of web page: http://www.top-art-gallery.com/John-Constable/John-Constable-oil-painting-3.html Produced by Top-Art-Gallery.com 4/4.

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Tate Papers - Sir Edward Manton's Glebe: Completing the Provenance
Tate Papers - Sir Edward Manton's Glebe: Completing the Provenance ... http://www.tate.org.uk/research/tateresearch/tatepapers/08spring/congd... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Sir Edward Manton's Glebe: Completing the Provenance of Constable's Glebe Farm Sketch c.1830 Douglas Congdon-Martin At the death of Sir Edwin Manton, the great benefactor of the Tate Britain, on 1 October 2005, one of the mysteries he left behind was the provenance of the sketch for John Constable’s The Glebe Farm , c.1830 ( Tate T12293 ), on loan to Tate from 1998, before being transferred to the gallery as a gift in 2006 The Glebe Farm canon When it was rediscovered in the mid 1990s, Sir Edwin’s picture joined the canon of Constable’s Glebe Farm paintings. The subject, a cottage and lane scene with the tower of the Langham church, Essex, was a favourite of the artist. In December 1836 he wrote to C.R. Leslie: ‘Sheepshanks means to have my Glebe Farm, or Green Lane, of which you have a sketch. This is one of the pictures on which I rest my little pretensions of futurity.’ 1 There are five versions currently known. The earliest is an oil sketch in the Victoria and Albert Museum (No.161–1888, fig.2), given by the artist’s children in 1888. Undated, it is generally thought to have been painted between 1810 and 1815 .2 The sketch is almost certainly the basis for the later pictures, but lacks the church tower. Fig.2 John Constable Church Farm, Langham c.1810–15 Isabel Constable; given by her in 1888 © V&A Images/Victoria and Albert Museum, London 1 of 18 25/01/2012 11:13 Tate Papers - Sir Edward Manton's Glebe: Completing the Provenance ..
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A Companion to British
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The Politics of Early 19Th Century Landscape
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British Art Studies June 2018 British Art Studies Issue 8, Published 8 June 2018
British Art Studies June 2018 British Art Studies Issue 8, published 8 June 2018 Cover image: Unidentified photographer, possibly Elsie Knocker, “Selfand Jean- Batiste”, Mairi Chisholm with Jean Batiste, a Belgian Congolese soldier, undated. Digital image courtesy of National Library of Scotland. PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents “As if every particle was alive”: The Charged Canvas of Constable’s Hadleigh Castle, Damian Taylor “As if every particle was alive”: The Charged Canvas of Constable’s Hadleigh Castle Damian Taylor Abstract John Constable painted Hadleigh Castle in the months that followed the death of his wife, Maria, in late 1828.
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The Stour Valley Heritage Compendia Artistic Heritage Compendium
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John Constable and the Theory of Landscape Painting / Ray Lambert
P1: GDZ/SPH P2: GDZ/SPH QC: GDZ/SPH T1: GDZ CB730-FM CB730-Lambert-v2 June 11, 2004 8:3 J ohn constable and the theory of landscape painting ray lambert iii P1: GDZ/SPH P2: GDZ/SPH QC: GDZ/SPH T1: GDZ CB730-FM CB730-Lambert-v2 June 11, 2004 8:3 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Ray Lambert 2005 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2005 Printed in the United Kingdom at the University Press, Cambridge Typefaces ITC New Baskerville 10/14.5 pt. and Shelly System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Lambert, Ray, 1949– John Constable and the theory of landscape painting / Ray Lambert. p. cm. Revision of thesis (Ph.D.) – University of London. Includes bibliographical references and index. isbn 0-521-82738-8 (hb) 1. Constable, John, 1776–1837 – Criticism and interpretation. 2. Constable, John, 1776–1837 – Aesthetics. 3. Landscape painting, English – 19th century. I. Constable, John, 1776–1837.
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Constable and the Six Footers
Constable and the Six Footers In October 1821, Constable wrote the following in a letter to John Fisher: ‘The sound of water escaping from mill-dams, willows, old rotten planks, slimy posts and brickwork, these scenes made me a painter and I am grateful for it. Still I should paint my own places best: painting is with me but another word for feeling. I associate my careless boyhood with all that lies on the banks of the Stour. They made me a painter and I am grateful; that is, I had often thought of pictures before ever I touched a pencil. But I will say no more – for I am fond of being an egotist, in what ever relates to painting.’ The sentiments conveyed through these words are very much in keeping with the prevailing mind-set of the Romantic movement, be it expressed through painting, literature, poetry, or music, that feeling of belonging, of delight in the familiar and oneness with Nature. Earlier, in that same letter, he wrote: ‘That landscape painter, who does not make his skies a very material part of his composition – neglects to avail himself of one of his greatest aids. It will be difficult to name a class of Landscape, in which the sky is not the keynote, the standard of Scale, and the chief Organ of sentiment. The sky is the source of light in Nature – and governs everything’ It was in 1819, the same year as the exhibition of the first ‘six footer’, The White Horse, that Constable rented a house in Hampstead, as a second London home, the other at the time being in Keppel Street, within which he professed to Fisher had been the ‘happiest and most interesting years of my life….I got my children and my fame in that house, neither of which would I exchange with any other man.’ The White Horse, 1819, oil on canvas, 74x52 inches, Frick Collection 1 Possibly the most lyrical of the six footers, The White Horse was purchased by Archdeacon John Fisher, but later bought back by Constable in 1829.
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Constable: the Vale of Dedham
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Constable: The Vale of Dedham Richard Beresford 19/20 August 2015 Lecture summary: Constable’s Vale of Dedham in the Scottish National Gallery is a mature masterpiece that sums up Constable’s achievement as well as any other single work. The subject is the Stour valley, the deeply beloved landscape that persuaded Constable in his youth to seek a truly ‘natural painture’. This lecture will trace the artist’s struggles to achieve a new naturalism in landscape, retaining the vitality and freshness of his own vision of nature, while also producing works of a scale and monumentality that could stand comparison with the greatest masters of the past. Slide list: 1. Constable, Vale of Dedham, c1827–28, Scottish National Gallery, Edinburgh 2. Constable, Dedham Vale, 1802, V&A, London 3. Constable, East Bergholt House, c1809–10, oil on millboard laid on panel, V&A, London 4. Constable, West Lodge, East Bergholt, ?1811, oil on canvas laid on panel, Thomson collection 5. Constable, The church porch, East Bergholt , exh 1810, Tate, London 6. Constable, Schematic sketch of the Stour valley, 1830, pen, brown ink and wash, Fitzwilliam Museum, Cambridge 7. Constable, Stratford mill , 1820, National Gallery, London 8. Constable, Dedham lock and mill, 1820, V&A, London 9. Constable, Flatford mill ('Scene on a navigable river') , 1816–17, Tate, London 10. Constable, The white horse, 1819, Frick Collection, New York 11. Constable, The leaping horse, full-scale study, c1825, V&A, London 12. John Hoppner, Sir George Beaumont, 1803, National Gallery, London 13.
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Natasha Duff, Constable's Sketch for Hadleigh Castle
Tate Papers - Constable's Sketch for Hadleigh Castle: A Technical Exa... http://www.tate.org.uk/research/tateresearch/tatepapers/06spring/duff.htm ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Constable's Sketch for Hadleigh Castle: A Technical Examination Natasha Duff Fig.1 John Constable Sketch for Hadleigh Castle c.1828-9 Oil on canvas. Tate. Purchased 1935 View in Tate Collection Tate’s collection includes a number of important paintings by John Constable (1776–1837). Many of these works, which span the artist’s oeuvre, have been cared for at Tate (some previously at the National Gallery, London) for more than ninety-five years. One frequently displayed painting is Sketch for Hadleigh Castle , c.1828–9,1 a full-scale oil on canvas, painted in preparation for the finished ‘six footer’ landscape that was exhibited at the Royal Academy of Arts in 1829. One of ten full-size sketches which Constable took the trouble to execute,2 it was perhaps designed to test the effect of a dramatic sky on a large scale. 3 Existing conservation documentation, detailing technical findings and treatments, was found to be sparse. The records did, however, note the presence of ‘strips added at left and bottom’, a feature that has been mentioned in the art historical literature on the painting. Interestingly, there has been disagreement over who was behind the additions among leading scholars on Constable's work. In the late 1970s, with the benefit of X-ray examination, Tate curator and leading Constable specialist Leslie Parris in the late 1970s was of the opinion that the additions of canvas were made and painted on by ‘someone other than Constable’.4 Graham Reynolds disputed this in 1984, saying, ‘I do not agree that the scientific evidence warrants this conclusion’, and adding, ‘if the theory of another hand were to be accepted it would imply that Constable had cut his composition through the middle of the body of the dog following the shepherd and not expressed the left-hand side of the further tower’.
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