Constable
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Constable - Victoria Charles
Author: Victoria Charles
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
ISBN 978-1-78160-607-0
All rights reserved. No part of this book may be reproduced or adapted without the permission of the copyright holder, throughout the world.
Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
Victoria Charles
John
Constable
Table of content
1. Daniel Maclise, Constable painting, c.1831
2. Riverside; ship against the sunset, c. 1800
3. Incised Outline of a Windmill, fragment of the windmill on East Bergholt Heath, 1792
BIOGRAPHY
LIST OF ILLUSTRATIONS
1. Daniel Maclise, Constable painting, c.1831.
Pencil sketch, 15 x 11.5 cm,
National Portrait Gallery, London.
John Constable is arguably the best-loved English artist. His fame and popularity are rivalled only by those of his great contemporary, J. M. W. Turner. But like Turner, his reputation rests on a handful of very well-known paintings, normally Suffolk scenes such as Flatford Mill (p. 35) or the Hay-Wain (p. 48). The latter in particular is so famous that it sometimes overshadows the rest of his work, whereas we know from Constable’s writings that he set greater store by his Stratford Mill, and once declared that it was Salisbury Cathedral, from the Meadows (p. 71) rather than the Hay-Wain which best embodied ‘the full compass’ of his art. For all its fame, even the Hay-Wain itself is misunderstood. It is so familiar that it is hard for a modern spectator to grasp the enormous impact it had upon some of the greatest French painters of the day. In order fully to appreciate Constable’s achievement, one must first attempt to clear away some of the many misconceptions surrounding his work.
He was, for example, a more versatile artist than most of his modern admirers realise. It is true that he was deeply and sentimentally attached to the scenery of Suffolk, and unlike many of his colleagues he did not normally tour in search of material; but his friendships and family life forced him to travel, and so there is diversity in his subject matter, embracing the Lake District, Hampstead, Kent, Dorset, Sussex and Salisbury. Many of the magisterial productions of his last years, including Hadleigh Castle and The Opening of Waterloo Bridge (p. 74) are a far cry from the Suffolk scenes, whilst his accomplishments within the difficult and competitive genre of marine painting have been consistently undervalued.
A persistent error surrounding Constable’s work is that it is somehow ‘artless’ and untouched by theory – that he simply ‘painted what he saw’ in response to the beauty of the English countryside. On the contrary, he was a sophisticated, reflective artist whose naturalism was hard-won, based on an incessant study of nature, the Old Masters and wide reading. Far from