Session 7 John Constable 1776-1837

John Constable
John Constable, The Bridges Family, 1808
John Constable,
Portrait of Mary Freer,
Claude Lorrain,
Hagar and the Angel,
John Constable,
Dedham Vale,
John Constable, A Lane Near Flatford, 1811
John Constable, Flatford Mill from a Lock on the Stour, 1811
John Constable, Landscape, Boys Fishing, 1813
“There is room enough for a natural painture. The great vice of the present day
is bravura, an attempt to do something beyond the truth. In endeavouring to do
something better than well, they do what in reality is good for nothing. Fashion
always had, & will have, its day — but truth (in all things) only will last, and
can only have just claims on posterity.”
Letter to John Dunthorne, 1802
John Constable, A Hayfield Near East Bergholt, Sunset, 1812
John Constable,
Portrait of Maria Bicknell,
John Constable, The Stour Valley with the Church of Deadham, 1814
John Constable, Golding Constable’s Flower Garden, 1815
John Constable, Golding Constable’s Kitchen Garden, 1815
John Constable, Weymouth Bay, 1816
John Constable, Weymouth Bay with Jordan Hill, 1816
John Constable,
A Cottage in a Cornfield,
John Constable, Wivenhoe Park, 1816
John Constable, Boat-building on the Stour, 1816
Claude Lorrain, The Embarkation of St. Ursula, Rome, 1637
John Constable, Flatford Mill (Scene on a Navigable River), 1816-17
John Constable, Hampstead Heath, 1819
John Constable, Cloud Study, 1821
John Constable, Cloud Study, 1822
John Constable, The White Horse, 1819
“But the sound of water escaping from mill-dams, &c., willows, old
rotten planks, slimy posts, and brickwork, I love such things.
Shakespeare could make everything poetical; he tells us of poor Tom's
haunts among "sheep cotes and mills." As long as I do paint, I shall
never cease to paint such places. They have always been my delight.
Still I should paint my own places best; painting is with me but another
word for feeling, and I associate "my careless boyhood" with all that
lies on the banks of the Stour; those scenes made me a painter, and I am
grateful; that is, I had often thought of pictures of them before ever I
touched a pencil, and your picture ['The White Horse'] is one of the
strongest instance I can recollect of it.”
Letter to Rev. John Fisher, 1821
John Constable, Stratford Mill, 1820
John Constable, The Hay Wain, 1821
John Constable, A View on the Stour Near Dedham, 1822
Peter Paul Rubens, Chateau de Steen, 1636
John Constable, The Leaping Horse, 1824
John Constable, A Boat at the Sluice, 1824
John Constable,
A Boat Passing a Lock,
John Constable, A Boat Passing a Lock, 1824
John Constable,
The Vale of Dedham,
John Constable, Hadleigh Castle, The Mouth of the Thames – morning after a stormy night, 1828-9
John Constable, Salisbury Cathedral from the Meadows, 1829
John Constable, Salisbury Cathedral from the Meadows, 1831
John Constable, Salisbury Cathedral from the Bishop’s Grounds, 1832
John Constable,
A Windmill near Brighton,
John Constable, Stone Henge, 1836
David Lucas, after John Constable, Old Sarum, 1836
John Constable, The Cottage by the River, 1836
John Constable,
Cenotaph to the Memory of Sir Joshua Reynolds,
Diana and
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