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    Constable
    Constable
    Constable
    Ebook61 pages43 minutes

    Constable

    By C. Lewis Hind

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    About this ebook

    Biography, with 12 illustrations, from the series Masterpieces in Colour. According to Wikipedia: "John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. 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". His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England."

    LanguageEnglish
    PublisherSeltzer Books
    Release dateMar 1, 2018
    ISBN9781455430741
    Constable
    Author

    C. Lewis Hind

    Charles Lewis Hind ( 1862 - 1927); was a British journalist, writer, editor, art critic, and art historian. (Wikipedia)

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      Book preview

      Constable - C. Lewis Hind

      CONSTABLE 1776-1837 BY C. LEWIS HIND

      from the MASTERPIECES IN COLOUR series

      published by Samizdat Express, Orange, CT, USA

      established in 1974, offering over 14,000 books

      Our art books include:

      Constable by Hind

      Japan, a Record in Color by Menpes

      Leonardo da Vinci by Brockwell

      Rembrandt by Menpes

      Romney by Hind

      Lives of the Most Eminent Painters by Vasari

      Masters of Water-Colour Painting by Holme

      The French Impressionists by Mauclair

      feedback welcome: info@samizdat.com

      visit us at samizdat.com

      ILLUSTRATED WITH EIGHT REPRODUCTIONS IN COLOUR

      LONDON: T. C. & E. C. JACK, NEW YORK: FREDERICK A. STOKES CO., 1907

      CHAPTER I THE YEAR 1824

      CHAPTER II THE BROWN TREE

      CHAPTER III HIS LIFE

      CHAPTER IV HIS SKETCHES

      CHAPTER V HIS PICTURES

      CHAPTER VI HIS PERSONALITY AND OPINIONS

      Color Plates

      —I. The Valley Farm (National Gallery)

      —II. The Hay Wain (National Gallery)

      —III. The Corn Field (National Gallery)

      —IV. Flatford Mill (National Gallery)

      —V. Dedham Mill (Victoria and Albert Museum)

      —VI. A Country Lane (National Gallery)

      —VII. Salisbury Cathedral from the Bishop's Garden (Victoria and Albert Museum)

      —VIII. Salisbury (National Gallery)

      PLATE I.—THE VALLEY FARM.

      National Gallery.

      In The Valley Farm, exhibited at the Royal Academy in 1835, two years before his death, Constable returned to the scenes of his boyhood, to Willy Lott's house on the banks of the Stour. His hand and eye have lost something of their grip and freshness, but his purpose is as firm as ever. I have preserved God Almighty's day light, he wrote, which is enjoyed by all mankind, excepting only the lovers of old, dirty canvas, perished pictures at a thousand guineas each, cart grease, tar, and snuff of candle. The old Adam, you perceive, was still strong in him.

      PLATE I.—THE VALLEY FARM.

      CHAPTER I THE YEAR 1824

      John Constable was forty-eight years of age in 1824, a memorable year in the history of landscape painting. A date to be remembered is 1824, for in that year Constable's Hay Wain was hung in the French Salon. That picture, which is now in the National Gallery, marked an epoch in landscape art.

      Reams have been written about the influence of The Hay Wain upon French art, by critics who are all for Constable, by critics who are complimentary but temperate; and by critics who are lukewarm and almost resentful of the place claimed for Constable as protagonist of nineteenth century landscape art. A guerilla critical warfare has also raged around the influence of Turner. Constable and Turner! Most modern landscape painters have, at one time or another, learnt from these two great pioneers. Turner is more potent to-day, but his influence took longer to assert itself. It was not until 1870 that Monet visited London to be dazzled by the range and splendour of Turner at the National Gallery. Forty-six years had passed since The Hay Wain was exhibited at the Salon. In that half-century the Barbizon School, those great men of 1830, Corot, Rousseau, Millet, Daubigny, Troyon, Diaz, and the rest had come to fruition. Constable has been claimed as their parent. Thoré, the French critic, who wrote under the name of G. W. Burger, affirms that Constable was the point de depart of the Barbizon School; but Albert Wolff, another eminent French critic, was not of that opinion. Thoré, writing in 1863, also said that although Constable had stimulated in France a school of painting unrivalled

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