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The Remarkable Story of the 'Six-Foot Sketches

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The Remarkable Story of the 'Six-Foot Sketches Charles Rhyne The Remarkable Story of the ‘Six - FootSketches ’ Some of the most challenging questions about Constable’s art concern the meaning of his so-called ‘six-foot sketches’. What was their The Remarkable purpose? What was their relationship to his matching exhibition pictures? Are they preparatory studies or alternative versions of the Storyof the ‘Six - exhibited paintings? Do they disclose the ‘real Constable’?1 To what extent do they constitute an unprecedented form of art? Why is there Foot Sketches’ not a single reference to the idea of full-size sketches in Constable’s voluminous correspondence, even with his family and intimate Charles Rhyne friends? Why, at auction, did they sell at almost giveaway prices? Why has a distinguished authority described them as ‘Constable’s supreme achievement’, and even ‘the greatest thing in English art’?2 Why has the authenticity of so many of them been doubted even by leading scholars? Why has it taken so long for them to be considered as a group? To what extent do we understand them even today? Identifying the Full-Size Sketches Even identifying which objects should be considered large, full-size sketches is problematic. In spite of C.R. Leslie’s defining 1855 figure 15 statement that ‘Constable made a sketch of the full size of every large picture he painted’,3 we are still struggling to identify the sketches to full-size sketches private. Did he show them to, or discuss them with, which Leslie referred. Often called Constable’s ‘six-foot sketches’ by intimate friends or visitors to his studio? later authors, only six of his large, full-size sketches correspond closely Various friends, collectors, dealers and artists visited Constable with this measurement.4 Of the others often thought of as part of the at his studio at No. 35 Charlotte Street in London, though there is no series, one is significantly larger,5 and two are about a half-foot evidence of what they saw.10 Some recent authors have written that shorter.6 In addition, three are under five feet, thus clearly not six- the existence of the full-size sketches was ‘probably unsuspected even footers, though as large, full-size sketches, they are instructive to by his friends until some were included in the 1838 sale’,11 but this is consider as part of the series.7 Two of these large, full-size sketches, surely too categorical. It is nearly certain that the full-size sketch for one exactly six feet, date from the last decade of Constable’s life, calling View on the Stour near Dedham c.1821 (no.38) was seen by Fisher. In a note attention to the endurance of this concept in his mind and working to Fisher on a now lost piece of paper, recorded by Leslie, Constable procedure.8 refers to an earlier version, probably the full-size sketch. This is a We recognise quickly that more important than the exact six-foot rare and instructive description by Constable of the changes from, length was the unprecedented concept of painting a large studio in all probability, one of his full-size sketches to the matching painting sketch on a separate canvas the same size as a matching finished (nos.38, 39): painting. In other ways, the six-foot sketches vary greatly. Even the The composition is almost totally changed from what you saw. I have full-size sketches for The Hay Wain c.1820 (no.36) and The Leaping Horse taken away the sail, and added another barge in the middle of the c.1824 (no.46), which for decades served almost exclusively to represent picture, with a principal figure, altered the group of trees, and made this aspect of Constable’s art, are so different in appearance, the bridge entire. The picture has now a rich centre, and the right-hand complexity and purpose, that very few things can be said that apply side becomes only an accessory.12 equally to both. Constable’s note describes compositional changes, partly details, There are other, even more challenging, reasons that scholars have but more importantly the overall structure and impact of the image. been slow to identify the full-size sketches to which Leslie referred. As discussed in the sections below, some of these sketches have not Nineteenth-Century Evidence been included in past publications because they were unknown to the It is nearly certain that several of the large, full-size sketches were museum and academic worlds; others because they were judged not to listed in the auction catalogue of the Constable family collection at be by Constable; still others because they were considered unfinished Foster and Sons in London in 1838, one year after Constable’s death.13 paintings rather than full-size sketches. This was the first public showing of these sketches, but there is no evidence that they made any impression, and those that sold went for References during Constable’s Life almost giveaway prices. The first secure descriptive reference to any How were Constable’s large, full-size sketches seen and understood of the large, full-size sketches appeared in the 1843 first edition of during his life? Astonishingly, the concept of a full-size sketch is never C.R. Leslie’s Memoirs of the Life of John Constable, in which Leslie was mentioned in Constable’s extensive correspondence, even with his describing Constable’s The Leaping Horse (no.47), exhibited at the intimate friend, Archdeacon John Fisher, with whom he regularly Royal Academy in 1825.14 discussed his artistic ideas. During Constable’s life, there are two Before he sold them in 1853, the dealer D.T. White showed The Hay nearly certain and two possible references to individual full-size Wain and The Leaping Horse sketches to viewers, including the French sketches, though these must be surmised from related information.9 landscape painter Constant Troyon (fig.15), whom Henry Vaughan We long to know to what extent Constable considered his large, noted ‘came frequently to see these studies and desired much to 4 2 | The Remarkable Story of the ‘Six-Foot Sketches’ Figure 15 become the owner of them had circumstance permitted’.15 Thirteen sketches, we should note that one of them is in Paris (Helmingham Dell, Constant Troyon years later, in their 1866 A Century of Painters of the English School, R.30.3); one each are in Washington (no.28), New Haven (no.30), The Approaching Storm Richard and Samuel Redgrave provided the first extensive description Philadelphia (no.40) and Chicago (no.68); and in Great Britain, one is at 1849 Oil on canvas of any of the full-size sketches (see p.25), and the subject has been a Anglesey Abbey near Cambridge (no.65), and one, previously at the 116.2 × 1 5 7.5 (45 1⁄2 ×6 2 ) fixture in Constable studies ever since. The Redgraves’ two-page Royal Holloway College, University of London, is in a private collection national gallery of art, account far exceeds all other nineteenth-century descriptions of (no.38). A further possible full-size sketch, though more likely an washington. chester da l e Constable’s full-size sketches in length and perception, helping us to unfinished painting, is in Melbourne (fig.8, p.28). fund 1995 relive their experience of these remarkable paintings.16 The lack of evidence relating to the history of these full-size Figure 16 The most influential event for the full-size sketches was the long- sketches is emphasised by the fact that The White Horse sketch c.1818 Engraving of the full-size sketch term loan in 1862 (bequeathed 1900) by Henry Vaughan of the full-size was not recorded, as far as we know, until 1872, in the catalogue of the for The White Horsec.1818 (no. 2 8 ) , sketches for The Hay Wain and The Leaping Horse to the South Old Master exhibition at the Royal Academy, in which, not from the Magazine of Art, Kensington Museum (which became the Victoria and Albert Museum surprisingly, it was listed with no mention that it might be a large June 1883 in 1899), where, except for brief periods, they have been on display ever sketch.18 An engraving of it, illustrated in the Magazine of Art in June since.17 Moreover, the two matching finished paintings were given to 1883, shows that by then it had been extensively overpainted, no doubt London’s National Gallery in 1886 (The Hay Wain) and the Royal to make it more saleable as a finished painting (fig.16).19 This is key Academy in 1889 (The Leaping Horse). Possibly because they provided evidence, indicating both that all overpainting of The White Horse such a convenient set piece, these two sketches and their matching sketch had taken place by 1872, and also that so few participants in the exhibition paintings served for decades as the basis for all discussions market understood the range of Constable’s art or recognised his hand of Constable’s large, full-size sketches. While the recent ease of air that uncharacteristic changes could be made without calling their travel has significantly reduced the problem of studying the full-size authorship into question. The recent, thoroughly researched and figure 16 4 3 | The Remarkable Story of the ‘Six-Foot Sketches’ Figure 17 calculated to produce an effect in the Academy exhibitions. The habit Full-size sketch of S a l i s b u r y of making these was entirely bad. They are almost always compromises Cathedral from the Meadows with his real idea. He watered that down, filling it out with redundant c.1829–31 (no.60) before cleaning statements of detail which merely satisfy an idle curiosity and guildhall art gallery, city of london inevitably obscures the essential theme … Fortunately, however, he frequently did full-size studies for these pictures, and it is to those and to the sketches that we must turn to find the real Constable.24 Even for those of us who do not agree with his denunciation of the finished paintings, Fry’s fifteen short pages of Constable criticism constitute some of the most perceptive writing on his full-size images.
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