Study pack and September 2016 until March 2017 teacher notes

Constable in Context: Salisbury Cathedral from the Meadows in perspective

## The Salisbury The Salisbury Museum Museum The King’s House The King’s House 65 The Close 65 The Close Salisbury Cathedral from the Meadows Salisbury 1831 Salisbury SP1 2EN John Constable (1776-1837) SP1 2EN © Tate, London 2013

01722 332151 Purchased with assistance from the 01722 332151 Heritage Lottery Fund, The Manton The Salisbury Museum is an Foundation, Art Fund (with a contribution The Salisbury Museum is an independent charity 289850 from the Wolfson Foundation) and Tate independent charity 289850 Members

Constable in Context: Salisbury Cathedral from the Meadows in perspective Introduction to the exhibition: Today, John Constable (1776-1837) is recognised as being one of the most important of all British artists, someone who changed landscape painting but perhaps more importantly, how we all look at the English countryside. Constable produced more paintings and drawings of Salisbury than of any other area, apart from the Stour Valley, where he grew up. The Salisbury Cathedral in particular, has been a frequent subject of sketches, paintings and drawings by artists before, during and after Constable’s time.

This exhibition shows how Salisbury Cathedral has been depicted in art for over 300 years. It charts a shift from the detailed architectural studies of the building in the 17th century to the landscape views of the 21st century. What is revealed is the enormous impact that Constable’s painting had on depicting the Cathedral and the water meadows, inspiring artists all over the world.

This study pack details four important compositions from the exhibition by different artists using talking points designed around Rod Taylor’s “Content, form, process, mood” model. The pack also suggests various activities to do in conjunction with the respective works.

Workshops for schools We are offering interesting and exciting hands-on workshops in conjunction with this exhibition. They are useful for most levels (year 5/6, Key stage 3, GCSE/A level).

Workshop topics, inspired by Constable include:  Studying methods of composition  Inspiration from artists and your locality  Aerial perspective  Colour mixing theory and practice  Creating depth in a painting

When you book a workshop you will have full access to Constable in Context: Salisbury Cathedral from the Meadows in perspective, including an opportunity to draw whilst in the exhibition. Sessions also include a PowerPoint with explanations of the area of study, demonstrations from a professional artist, a chance to produce sketches or small paintings to be developed later on at home or at school, and inspiration that will last long after your visit.

Workshops can be booked throughout the exhibition (subject to availability of facilities), as well as all week from Monday 31st October - Friday 4th November 2016 and Monday 23rd January - Friday 27th January 2017.

Aspire

In 2013 Constable’s Salisbury Cathedral from the Meadows 1831 was secured for the British public through the Heritage Lottery Fund, Art Fund (with a contribution from the Wolfson Foundation), The Manton Foundation and Tate Members.

The acquisition was part of a ground-breaking new partnership, Aspire, between five national and regional galleries: Amgueddfa Cymru – National Museum Wales The National Galleries of Scotland Colchester and Ipswich Museums The Salisbury Museum Tate Britain

Aspire is a partnership programme enabling audiences of all ages to enjoy and learn more about the work of John Constable by touring Salisbury Cathedral from the Meadows 1831 across the UK. Aspire is supported by the Heritage Lottery Fund and Art Fund. Each partner will display the work in the context of their collection, accompanied by an inspiring programme of activities enabling audiences of all ages to enjoy and learn more about the work of John Constable.

Additional useful Links: Tate Online Learning Resource ‘In depth: Constable’s Salisbury Cathedral from the Meadows 1831’: www.tate.org.uk/aspire Audio Description of Salisbury Cathedral from the Meadows 1831: http://www.tate.org.uk/context-comment/audio/audio-description-constables- salisbury-cathedral-meadows-1831 Aspire: National Network for Constable Studies: http://www.tate.org.uk/about/our- work/national-partnerships/collaborative-projects/aspire

John Constable

Background John Constable was born in Suffolk in 1776. His first short visit to Salisbury was in 1811, where he stayed with Bishop Fisher and his family. It was here that he would meet the Bishop’s nephew, Archdeacon John Fisher, with whom he would strike up many years of friendship. Constable visited the city a total of seven times over a period of 18 years. His visits to this area, and his friendship with the Fishers, were of great significance to him.

In 1816, Constable married his long term love Maria Bicknell. The couple would go on to have seven children together. In November 1828, the same year as their seventh child was born, Maria died of tuberculosis. His wife’s death had a huge effect on Constable. Indeed, his later works after Maria’s passing, including Salisbury Cathedral from the Meadows 1831, had more of an unsettled nature about them, which has often been attributed to Constable’s mourning and altered perspective on life.

After Maria’s death, Constable found solace in his friendship with the Fishers. He visited them in Salisbury in 1829, where he worked on his sketch for what would be Salisbury Cathedral from the Meadows. The completed oil painting was exhibited at the Royal Academy in 1831, and was the last of the sequence of monumental (‘six- footer’) canvases which had begun in 1819 with The White Horse. Archdeacon Fisher died the following year and Constable never returned to Salisbury. However the artist continued to exhibit his work up until his death in April 1837.

Technique Constable’s mark-making technique was considered somewhat revolutionary; using a palette knife and brushes to create textured and expressive surfaces. At a time when paintings were expected to have smooth surfaces, Constable’s work often drew heavy criticism from contemporaries.

Legacy Constable’s compositions inspired many artists from the 19th century to the present day. The mezzotints by David Lucas were greatly influential in popularising Constable’s work during the 19th and early 20th century. Constable’s emotional landscapes, alongside contemporaries such as J M W Turner, aided in altering the status of landscape painting, which at the time had been considered a lowly subject matter.

Constable’s frequent use of Salisbury as a subject for his work furthermore encouraged many artists to produce views of the Cathedral, the city, and the surrounding area. Many of the works inspired by Constable and David Lucas are shown in the final room of the exhibition. Constable played a large part in shaping what we now consider to be quintessential English countryside. Much of the landscape depicted in Constable’s views of Salisbury remains untouched, partially due to the influence of his work, and those that followed.

North-West View of the Salisbury Cathedral and Bell Tower, 1671 Illustration for 'Monasticon Anglicanum' by William Dugdale, etching by Wenceslaus Hollar (1607-1677) Etching The Salisbury Museum

This etching is full of detail, accurately North-West View of the Salisbury depicting the architecture of the Cathedral and Bell Tower, 1671 Cathedral. It serves to illustrate how Illustration for 'Monasticon Anglicanum' the Cathedral looked during the mid to by William Dugdale, etching by late 1600s. Figures can be seen in Wenceslaus Hollar (1607-1677) front of the Cathedral, providing a Etching scale for the size of the building. The Salisbury Museum This style of architectural This is one of three etchings by documentation was common in the Wenceslaus Hollar on display in the 17th and early 18th century, and can be exhibition. They are some of the seen mirrored in nearly all of the works

earliest known prints of the Cathedral. within this room. One of the notable exceptions to this however, is the work Present within this etching is the of Flemish artist Hendrik de Cort. Cathedral’s medieval Bell Tower. The upper part of the tower was Talking points demolished in 1758 and the rest was  Content: Study the print. What do subsequently pulled down by architect you think are the most and least James Wyatt during his remodelling of dominant features within it? Why do the building between 1789 and 1792. you think the artist chose to do this? Wyatt’s work to both the outside and interior of the Cathedral was  Form: Look at the sky in this print controversial at the time, although the and in other works in the room. What external appearance of the building do you notice about them? Do they tell has been altered very little since. you much about the type of weather Conversely, the architect’s changes to occurring when these drawing were the interior, including the removal of made? many of the medieval features, the movement of monuments and building  Process: What skills must the artist of a new screen, were not so have required to produce this work? longstanding.  Mood: Does this etching make you Wenceslaus Hollar was born in Prague feel anything when you study it? in 1607 and came to England in 1637 Remember your answer and compare to take up employment with the Earl of it to how compositions in the next two Arundel. He was well known for rooms make you feel. producing views of landscapes and buildings as well as portraits and still Activities life in many different forms. Although Pick one of your favourite buildings Hollar was very talented, he was and draw a detailed section of it, financially poor during his later life and focusing on its architecture. Consider died in debt. why these types of drawings/paintings may be useful to us and why they were so popular in the 17th century.

Salisbury Cathedral from the Meadows, 1831 John Constable (1776-1837) Oil paint on canvas 1518x1899 mm © Tate, London 2013

Purchased by Tate with assistance from the National Lottery through the Heritage Lottery Fund, The Manton Foundation, Art Fund (with a contribution from the Wolfson Foundation) and Tate Members in partnership with Amgueddfa Cymru-National Museum Wales, Colchester and Ipswich Museums Service, National Galleries of Scotland, and The Salisbury Museum 2013

Salisbury Cathedral from the The tones are much darker than in Meadows, 1831 earlier paintings, this along with the John Constable (1776-1837) ever present turbulent skies has often Oil paint on canvas been associated with Constable’s 1518x1899 mm emotional grief after the death of his Tate wife Maria in 1828.

Background Talking points Painted in 1831, Salisbury Cathedral  Content: Compare differences from the Meadows is now considered between the sketch version and the one of Constable’s finest works. It was finished work. What has changed? the last in a series of large canvases, What has remained consistent in both ‘six-footers’, which he had been versions? Do these choices reveal producing since 1819. something more about Constable and the final work? When Constable started painting English landscapes on such a scale,  Form: What kind of colour scheme he broke with Academy traditions. has been used in the painting? Is it, for His work helped to raise the status of example, a harmonious one or one landscape painting to that previously built up of contrasts? reserved for the depiction subjects such as historical scenes. Landscape  Process and Mood: Constable paintings until this time had been influenced views of Salisbury considered a less significant theme Cathedral greatly. Why do you think and were previously produced on his work was so significant? How is it much smaller canvases. different to depictions made by artists before him? For example, consider his Constable’s painting depicts the view expressive technique, use of subject across the countryside on the edge of and creation of mood. the city. The lower half of the composition shows the water Activities meadows; a rural scene of a wagon  Look for the small details in crossing the ford watched by a dog. Constable and his contemporaries’ The top half of the picture is dominated work. Why are they in the painting at by the distant spire shown under all? Draw your version of small details stormy skies. The end of the rainbow from a few of the works and think touches the ground in Leadenhall, about why they were included. For where Constable regularly stayed on instance, St Thomas’ church is on the visits with his friend Rev. John Fisher. left of the painting, but it cannot be seen in real life from this view. So why This composition was contrived from has Constable included it here? What many different sketches, which can be is he saying? illustrated by the inclusion of the tower of St Thomas’s church, seen through Create a composite landscape. the trees to the extreme left. This Either cut up magazine pictures, building would not have been visible choosing trees, distant buildings and from this viewpoint on the meadow. foreground activity. If you have a digital camera take your own pictures and paste together to create an ‘ideal’ English landscape.

Old Sarum, 1855 David Lucas after John Constable Mezzotint on paper The Salisbury Museum

Old Sarum, 1855 Typically, rotten boroughs had secured David Lucas after John Constable representation in parliament when they Mezzotint on paper had a large population, but over time The Salisbury Museum had become deserted.

Background Old Sarum for example, had thrived in This is the second plate produced by the 12th century, but was later Lucas of Constable’s depiction of Old abandoned when Salisbury was Sarum. It was published in 1855 for H G refounded nearby. Therefore the two Bohn’s English Landscape Scenery. seats did not represent any communities or populations and served only to benefit David Lucas was an engraver, who the politician’s own wealth, power under the supervision of Constable, and purposes. produced twenty-two mezzotints of Constable’s work. Constable wished to Talking points produce engravings of his compositions, Content: Is the subject matter here as he was aware of its usefulness in surface deep or are there hidden further extending the influence of an meanings alluded to through the use of, artists’ work. for example symbol, analogy, metaphor? Mezzotint engraving involves indenting the metal printing plate using a toothed Form: How has the work been metal tool. The printmaker can create arranged? Is it in keeping with its dark and light tones by progressively content? rubbing down the rough surface to a certain smoothness, this reduces the  Process: There are three mezzotints ink-holding capacity of areas of the by David Lucas after Constable’s work plate, thus creating lighter shades. in the exhibition. Consider why Constable and other contemporaries Over half of this engraving is dominated valued this engraving technique so by the uninterrupted sky. The lower half highly. shows the wide valley and desolate- looking Old Sarum. Highlighted in the Mood: Does the work affect you in foreground of the scene is a lone any way? Does it capture a mood, shepherd at the end of his day, who feeling or emotion which you have herds his flock out of the edge of this already experienced? picture. The threatening sky contributes to the dramatic feel of the work. Activities  Keep a visual diary, either with a When Constable’s original painting was small sketchbook or photographs, of exhibited, political connections were weather patterns. Look at the same made to the Reform Act of 1832, during patch of sky or landscape at different which Old Sarum had become infamous times of day as well. How does the light as a ‘rotten borough’. A 'borough' was a change? Where are the shadows and town that had the right to elect two highlights? Record these in your diary. members to the House of Commons.

Salisbury from Old Sarum, Wiltshire c. 1827-1828 J M W Turner (1775-1851), published in the Picturesque Views of England and Wales Watercolour The Salisbury Museum

Salisbury from Old Sarum, Critic John Ruskin wrote of the work: Wiltshire, c. 1827 - 1828 J M W Turner (1775-1851), published 'The rain-clouds... in this picture are in the Picturesque Views of England wrought with a care I have never seen and Wales equalled in any other sky of the same Watercolour kind. It is the rain of blessing – The Salisbury Museum abundant but full of brightness; golden gleams are flying across the wet grass, Background and fall softly on the lines of willow in This watercolour was one of a series the valley...'. of 'Picturesque views in England and Wales' painted by Turner. A shepherd Talking points and his children are seen sheltering  Content: Talk about the story of the together as a storm approaches. people in this painting – what is happening in the scene? Imagine the Turner is considered by many to be daily lives of the people seen. Constable’s biggest rival. The two artists are often now described as the Form: Does the painting have a greatest landscape painters in history variety or unity of texture? and were hugely influential in altering opinion on the importance of  Process: How was the work made landscape compositions in their time. and what was it made with? What materials, processes and techniques This view is derived from a pencil did the artist use? sketch Turner made in 1795 during his first visit to Salisbury. The viewpoint is  Mood: How does the painting make from ‘Old Sarum Entrenchment’, as you feel? Does it make you think Turner noted, and it is clear that, like about a type of emotion? Does the other artists before and since, he was strong lighting have an impact on the making a visual link between modern overall effect of the work? Salisbury and its historic roots at the abandoned site to its north. Activities Create an ‘adjective picture’, for Within the watercolour, the Cathedral example create a list (i.e energetic, is surrounded by light, presenting the lively, bold, frightened, shy, cold, church as a safe and protective place. remote, isolated, bright, vibrant…). This was a notion which was under fire Choose a powerful emotive word and during the 1820s, due to calls for use this word to inspire your own reducing the restrictions on Catholics. painting of Salisbury Cathedral. Such warm, rural depictions of Cathedrals were common within many Both Constable and Turner made artists’ work during this time. many drawings outdoors recording their observations in a sketch book. When preparing his watercolours, Try sketching outdoors – repeat the Turner sometimes began by setting same subject matter from different out the broad masses of his angles – if you have time take your compositions in studies known as drawings as inspiration for a painting ‘colour beginnings’. that you do later at home or school. See how this affects your artwork in comparison to drawing from a photo. Works included in the Exhibition:

North View of Salisbury Cathedral, Cathedral and Cloisters, early 19th 1672 century Wenceslaus Hollar (1607-1677) Attributed to John Buckler (1770-1851) Etching Pen and watercolour The Salisbury Museum The Salisbury Museum

North-West View of Salisbury Cathedral Salisbury from the North-East, 1734 and Bell Tower, 1671 Samuel and Nathaniel Buck Illustration for 'Monasticon Anglicanum' by Engraving William Dugdale, etching by Wenceslaus The Salisbury Museum Hollar (1607-1677) Etching View from Fisherton, Salisbury, c. 1795 The Salisbury Museum Hendrik de Cort (1742-1810) Watercolour East View of the Salisbury Cathedral The Salisbury Museum and Bell Tower, 1672 Wenceslaus Hollar (1607-1677) Salisbury Cathedral from the Bishop’s Etching Garden, 1795 The Salisbury Museum Hendrik de Cort (1742-1810) Watercolour Salisbury, Wiltshire, from the North- The Salisbury Museum East, 18th century by unknown artist Salisbury Cathedral from the East, c. Oil on canvas 1795 The Salisbury Museum Hendrik de Cort (1742-1810) Watercolour Interior of Salisbury Cathedral, looking The Salisbury Museum towards the North Transept, c. 1801-5 J M W Turner (1775-1851) North Porch of Salisbury Cathedral, Watercolour 1797 The Salisbury Museum J M W Turner (1775-1851) Watercolour Salisbury Cathedral, 1779 The Salisbury Museum Thomas Hearne (1744–1817) Greywash and pencil The South-West Prospect of Salisbury Private collection, Wiltshire Cathedral, 1671 V Collins after Nicholas Yeates (worked 1669-1686) Engraving The Salisbury Museum

St. Thomas's Church, 1795 Hendrik de Cort (1742-1810) Watercolour The Salisbury Museum

Sketch for Salisbury Cathedral from the Views of Salisbury Cathedral, Meadows, 1829-30 c.1813 John Constable (1776-1837) Frederick Nash (1782-1856) and Oil on canvas Frederick Mackenzie (1787-1854) Tate: Bequeathed by Henry Vaughan Watercolour 1900 The Salisbury Museum Salisbury Cathedral from the Meadows, Interior Views of Salisbury Cathedral, 1831 c.1813 John Constable (1776-1837) Frederick Nash (1782-1856) Oil paint on canvas Watercolour Tate The Salisbury Museum 1518 x1899 mm

Monuments and Decorative Features in View from Pugin’s House near Salisbury Cathedral, Salisbury, 1835 c.1813 David Charles Read (1790-1851) Frederick Nash (1782-1856) Oil on millboard Watercolour Ashmolean Museum, Oxford. Presented The Salisbury Museum by Chambers Hall, 1855.

Tombstone Effigies in Salisbury Salisbury Cathedral from the Meadows Cathedral, c.1813 ‘The Rainbow’, 1854 Frederick Nash (1782-1856) and Charles David Lucas (1802-1881) after John Alfred Stothard (1787-1821) Constable Watercolour Mezzotint on paper The Salisbury Museum The Salisbury Museum St. Ann’s Gate, Salisbury, 1811 Salisbury Cathedral, 1855 John Constable (1776-1837) David Lucas (1802-1881) after John Black and white chalk on buff paper Constable The Salisbury Museum Mezzotint on paper

Salisbury from Old Sarum, Wiltshire, The Salisbury Museum c.1827-28 Old Sarum, 1855 J M W Turner (1775-1851), published in David Lucas (1802-1881) after John the Picturesque Views in England and Constable Wales Mezzotint on paper Watercolour The Salisbury Museum The Salisbury Museum West Front of Salisbury Cathedral, South-West View of the City of c.1920 Salisbury, 1827 Albert Goodwin (1845-1932) George Fennel Robson (1788-1833) Watercolour Watercolour The Salisbury Museum Loaned by J N Antrobus Water Meadows near Salisbury, c.1950 South-West View of the City of Edward Seago (1910–1974) Salisbury, 1827 Oil on board George Fennel Robson (1788-1833) Loaned by Sir Peter Duffell Watercolour The Salisbury Museum

The City and Cathedral of Salisbury Salisbury Cathedral VI, 1996 seen from Harnham Hill, 1955 Dennis Creffield (born 1931) Lord R Methuen (1931-2014) Charcoal on paper Pen, ink and watercolour on paper Private collection, courtesy of James The Salisbury Museum Hyman Gallery, London

From Constable: Salisbury Cathedral And So It Goes II (after Salisbury from the Meadows, 1996-7 Cathedral from the Meadows), 2007 Leon Kossoff (born 1926), after John Kate Giles (born 1962) Constable Oil on linen Etching on paper Loaned by Lady Morse Tate Tuning Fork I, 2009 From Constable: Salisbury Cathedral Kate Giles (born 1962) from the Meadows, 1996-7 Oil on linen Leon Kossoff (born 1926), after John Loaned by Kate Giles Constable Etching and aquatint on paper 'Your Britain – Fight For It Now', 1942 Tate Frank Newbould (1887–1951) Watercolour and gouache Salisbury Cathedral from the Meadows, On loan from Bill Horton’s Family 1998 Leon Kossoff (born 1926), after John 'Your Britain – Fight For It Now', 1942 Constable Frank Newbould (1887–1951) Etching on paper Poster reproduction Tate Imperial War Museum

Salisbury Cathedral from the Meadows, Salisbury Cathedral with the River 1998 Avon in the foreground, c.1950 Leon Kossoff (born 1926), after John Claude Buckle (1905–1973) Constable Pencil drawing Etching on paper Loaned by Cliff Dixon Tate 'Salisbury by Rail', 1952 Claude Buckle (1905–1973) Poster design Collection of Mr T D Burlinson