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John Constable
Constable, naturalist or romantic ?
I. Loving English landscapes
II. Being an artist and a scientist
III. Was Constable a romantic?
John Constable , Ramsey Richard Reinagle
I. Loving English landscapes
“I should paint my own places best. Painting is but another word
for feeling. I associate my “careless boyhood” to all that lies on
the banks of the Stour. They made me a painter (& I am
grateful)”
Constable writing to John Fisher, 1821
Hampstead Heath, with the House Called ‘The Salt Box’ c.1819–20, Tate
Hampstead heath, 1820-1836, Tate
I. Loving English landscapes
The cornfield,
1826, National
Gallery
- England,
Constable’s
kingdom
I. Loving English landscapes
The Hay Wain, 1821, National Gallery London
The Hay Wain (full-size sketch), c. 182, V&A Museum0
Landscape sketch, 1821
I. Loving English landscapes
- Inspiration from the Old Masters
The Three Trees, Rembrandt, 1643, Victoria and Albert Museum,
Château de Steen, Rubens, 1636
I. Loving English landscapes
C) Apart from reality ?
Wivenhoe Park, Essex, 1816, National Gallery of Art, Washington
II. Being an artist and a scientist
• Art as a form of experimental science
'Painting should be understood...as a pursuit, legitimate, scientific
and mechanical'.
John Constable
A cottage in a cornfield
1815. Pencil - Victoria
and Albert Museum
The Cottage in a
Cornfield 1817 – Oil -
National Museum of
Wales
II. Being an artist and a scientist
• “Constable skies”
Sky as “the chief organ of sentiment in a
landscape painting”
Clouds 5 September 1822 - National Gallery of Victoria, Melbourne
Study of clouds 5 September 1822 – Victoria and Albert Museum, London
II. Being an artist and a scientist
• Constable skies VS Turner skies
Wivenhoe Park, 1816 - Constable – National Gallery of Art, Washington
Snow Storm: Hannibal and his Army Crossing the Alps, Turner 1812 – Tate Gallery,
London
“I do not consider myself at work
without I am before a six-foot
canvas”
– Constable to John Fisher, 1821
'Dedham Lock and Mill' John Constable, 1820, V&A Museum
Compositional lines on 'Dedham Lock and Mill' by John Constable
III) Was Constable a romantic?
• Symbolism and sublime
Rainbows and double rainbows
Landscape with a double rainbow 1812– Victoria and Albert Museum, London
Hampstead heath with a rainbow 1836 – Tate Gallery, London
Salisbury Cathedral from the Meadows 1831 – National Museum Cardiff, Cardiff
III. Was Constable a romantic?
• God, Nature and civilization
Salisbury Cathedral from the Bishop’s grounds 1823 – Victoria and Albert Museum,
London
Salisbury Cathedral from the Bishop’s grounds 1824 – The Frick Collection, New York
Rainstorm over the sea 1824-28 – Royal Academy of Arts, London
III. Was Constable a romantic?
'Painting is with me but another word for feeling‘
John Constable
Hadleigh castle,1829
James Thomson's poem
The Seasons (1726 –
1730):
The desert joys
Wildly, through all his
melancholy bounds
Rude ruins glitter; and
the briny deep,
Seen from some pointed
promontory's top
Far to the blue horizon's
utmost verge,
Restless, reflects a
floating gleam.
Cenotaph to
the Memory of
Sir Joshua
Reynolds,
1833-36,
National
Gallery
References
• Website of the V&A museum - Constable: The Making of a
Master – About the Exhibition (V&A museum) 2014-2015
• Website of the Frick Collection
• http://art.yodelout.com
• http://www.nga.gov/
• http://www.tate.org.uk/art/research-publications/the-
sublime/anne-lyles-sublime-nature-john-constables-salisbury-
cathedral-from-the-meadows-r1129550
• http://www.nga.gov.au/Exhibition/CONSTABLE/Default.cfm?m
ystartrow=37&realstartrow=37
• John E. Thornes John Constable’s skies: A Fusion of Art and
Science
• Constable's England, By Graham Reynolds
• John Constable: A Kingdom of his Own, By Anthony Bailey

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John Constable: being a romantic and a scientist

  • 2. Constable, naturalist or romantic ? I. Loving English landscapes II. Being an artist and a scientist III. Was Constable a romantic? John Constable , Ramsey Richard Reinagle
  • 3. I. Loving English landscapes “I should paint my own places best. Painting is but another word for feeling. I associate my “careless boyhood” to all that lies on the banks of the Stour. They made me a painter (& I am grateful)” Constable writing to John Fisher, 1821 Hampstead Heath, with the House Called ‘The Salt Box’ c.1819–20, Tate
  • 5. I. Loving English landscapes The cornfield, 1826, National Gallery - England, Constable’s kingdom
  • 6. I. Loving English landscapes
  • 7. The Hay Wain, 1821, National Gallery London
  • 8. The Hay Wain (full-size sketch), c. 182, V&A Museum0
  • 10. I. Loving English landscapes - Inspiration from the Old Masters The Three Trees, Rembrandt, 1643, Victoria and Albert Museum,
  • 11. Château de Steen, Rubens, 1636
  • 12. I. Loving English landscapes C) Apart from reality ? Wivenhoe Park, Essex, 1816, National Gallery of Art, Washington
  • 13. II. Being an artist and a scientist • Art as a form of experimental science 'Painting should be understood...as a pursuit, legitimate, scientific and mechanical'. John Constable
  • 14. A cottage in a cornfield 1815. Pencil - Victoria and Albert Museum
  • 15. The Cottage in a Cornfield 1817 – Oil - National Museum of Wales
  • 16. II. Being an artist and a scientist • “Constable skies” Sky as “the chief organ of sentiment in a landscape painting”
  • 17. Clouds 5 September 1822 - National Gallery of Victoria, Melbourne
  • 18. Study of clouds 5 September 1822 – Victoria and Albert Museum, London
  • 19. II. Being an artist and a scientist • Constable skies VS Turner skies
  • 20. Wivenhoe Park, 1816 - Constable – National Gallery of Art, Washington
  • 21. Snow Storm: Hannibal and his Army Crossing the Alps, Turner 1812 – Tate Gallery, London
  • 22. “I do not consider myself at work without I am before a six-foot canvas” – Constable to John Fisher, 1821
  • 23. 'Dedham Lock and Mill' John Constable, 1820, V&A Museum Compositional lines on 'Dedham Lock and Mill' by John Constable
  • 24. III) Was Constable a romantic? • Symbolism and sublime Rainbows and double rainbows
  • 25. Landscape with a double rainbow 1812– Victoria and Albert Museum, London
  • 26. Hampstead heath with a rainbow 1836 – Tate Gallery, London
  • 27. Salisbury Cathedral from the Meadows 1831 – National Museum Cardiff, Cardiff
  • 28. III. Was Constable a romantic? • God, Nature and civilization
  • 29. Salisbury Cathedral from the Bishop’s grounds 1823 – Victoria and Albert Museum, London
  • 30. Salisbury Cathedral from the Bishop’s grounds 1824 – The Frick Collection, New York
  • 31. Rainstorm over the sea 1824-28 – Royal Academy of Arts, London
  • 32. III. Was Constable a romantic? 'Painting is with me but another word for feeling‘ John Constable
  • 33. Hadleigh castle,1829 James Thomson's poem The Seasons (1726 – 1730): The desert joys Wildly, through all his melancholy bounds Rude ruins glitter; and the briny deep, Seen from some pointed promontory's top Far to the blue horizon's utmost verge, Restless, reflects a floating gleam.
  • 34. Cenotaph to the Memory of Sir Joshua Reynolds, 1833-36, National Gallery
  • 35. References • Website of the V&A museum - Constable: The Making of a Master – About the Exhibition (V&A museum) 2014-2015 • Website of the Frick Collection • http://art.yodelout.com • http://www.nga.gov/ • http://www.tate.org.uk/art/research-publications/the- sublime/anne-lyles-sublime-nature-john-constables-salisbury- cathedral-from-the-meadows-r1129550 • http://www.nga.gov.au/Exhibition/CONSTABLE/Default.cfm?m ystartrow=37&realstartrow=37 • John E. Thornes John Constable’s skies: A Fusion of Art and Science • Constable's England, By Graham Reynolds • John Constable: A Kingdom of his Own, By Anthony Bailey