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723:. The painting was a success, acquiring a buyer in the loyal John Fisher, who purchased it for 100 guineas, a price he himself thought too low. Fisher bought the painting for his solicitor and friend, John Pern Tinney. Tinney loved the painting so much, he offered Constable another 100 guineas to paint a companion picture, an offer the artist didnât take up. Constable's growing popularity in turn led to more lucrative commissions, such as
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Although
Constable produced paintings throughout his life for the "finished" picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method. He was never satisfied with following a formula. "The world is wide", he wrote, "no
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Constable once wrote in a letter to Leslie, "My limited and abstracted art is to be found under every hedge, and in every lane, and therefore nobody thinks it worth picking up". He could never have imagined how influential his honest techniques would turn out to be. Constable's art inspired not only
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In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and clouds, determined to become more scientific in his recording of atmospheric conditions. The power of his physical effects was sometimes apparent even in the full-scale paintings which he
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was his only ambitious six-foot painting of a
Brighton subject, it was exhibited in 1827. The Constables persevered in Brighton for five years to aid Mariaâs health, but to no avail. After the birth of their seventh child in January 1828, they returned to Hampstead where Maria died on 23 November at
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from 1824 until 1828, in the hope the sea air could restore her health. During this period
Constable split his time between Charlotte Street in London and Brighton. This change saw Constable move away from large scale Stour scenes in favour of coastal scenes. He continued painting six-foot canvases,
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His early style has many qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the old masters he had studied, notably of Claude
Lorrain. Constable's usual subjects, scenes of ordinary daily life, were unfashionable in
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For the last two years I have been running after pictures, and seeking the truth at second hand... I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men...There is room enough for
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trips in the surrounding
Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, "made me a painter, and I am grateful"; "the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork,
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Constable painted many full-scale preliminary sketches of his landscapes to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The
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stimulated
Constable to develop new techniques of brilliant colour and vivacious brushwork. At the same time, a greater emotional range began to be expressed in his art. While on honeymoon, Constable began to experiment with works exploring nature's grandeur, characterized by dominating skies, such
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In 1803, Constable exhibited at the
Academy two âLandscapesâ and two âStudies from Natureâ; and in April he made a trip from London to Deal, in the Coutts, East Indiaman, with Captain Torin, a friend of his father. Constable, John. Delphi Collected Works of John Constable (Illustrated) (Masters of
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and it led to a series of six monumental landscapes depicting narratives on the River Stour known as the âsix-footersâ (named for their scale). The extraordinary size of the works helped
Constable attract attention in the competitive space of the Academy's exhibitions. Viewed as âthe knottiest and
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In 1799, Constable persuaded his father to let him pursue a career in art and
Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections, as well as studying and copying old masters. Among works that particularly
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In his youth, Constable embarked on amateur sketching trips in the surrounding
Suffolk and Essex countryside, which in later years would inspire the majority of the subject matter of his canvases. Constable, John. Delphi Collected Works of John Constable (Illustrated) (Masters of Art Book 17) (p.
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Constableâs father â Golding Constable was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex. He owned a small ship, The Telegraph, which he moored at Mistley on the Stour estuary, which he used to transport corn to London. Delphi Collected Works of
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To the sky studies he added notes, often on the back of the sketches, of the prevailing weather conditions, direction of light, and time of day, believing that the sky was "the key note, the standard of scale, and the chief organ of sentiment" in a landscape painting. In this habit he is known to
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and the Admiralty, was reluctant to see Maria throw away her inheritance. Maria pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage
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In his lifetime, Constable sold only 20 paintings in England, but in France he sold more than 20 in just a few years. Despite this, he refused all invitations to travel internationally to promote his work, writing to Francis Darby: "I would rather be a poor man than a rich man abroad." In 1825,
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Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie, "When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture".
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inspired him during this period were the landscapes of Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. Constable, John. Delphi Collected Works of John Constable (Illustrated) (Masters of Art Book 17) (p. 15). Delphi Classics. Kindle Edition.
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At this time, he was introduced to George Beaumont, an art collector that showed the aspiring artist, amongst his many other treasures, his prized painting Hagar and the Angel by Claude Lorrain, which would have a profound influence on Constable. Delphi Collected Works of John Constable,
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In 1835, his last lecture to students of the Royal Academy, in which he praised Raphael and called the Academy the "cradle of British art", was "cheered most heartily". He died on the night of 31 March 1837, apparently from heart failure, and was buried with Maria in the graveyard of
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is the only upright landscape of the Stour series and the only six-footer that Constable painted more than one version of. A second version now known as the âFoster versionâ was painted in 1825 and kept by the artist to send to exhibitions. A third, landscape version, known as
907:, Isobel, Emma, Alfred, and Lionel. Only Charles Golding Constable produced offspring. Several of Constable's children also painted, notably his son Lionel. While Lionel eventually gave up painting for photography, several of his works are within the collection of the
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Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills. Constable, John. Delphi Collected Works of John Constable (Illustrated) (Masters of Art Book 17) (p. 15). Delphi Classics. Kindle
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by Thomas Forster show him to have been fully abreast of meteorological terminology. "I have done a good deal of skying", Constable wrote to Fisher on 23 October 1821; "I am determined to conquer all difficulties, and that most arduous one among the rest".
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The magnificence of the sea, and its (to use your own beautiful expression) everlasting voice, is drowned in the din & lost in the tumult of stage coaches - gigs - âflysâ &c. -and the beach is only Piccadilly (that part of it where we dined) by the
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of some of his landscapes in preparation for a publication. He was hesitant and indecisive, nearly fell out with his engraver, and when the folios were published, could not interest enough subscribers. Constable collaborated closely with mezzotinter
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perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the seaside"), and the pressure of numerous outstanding commissions, he quarreled with Arrowsmith and lost his French outlet.
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was transferred later to an establishment in the pretty, little town of Lavenham, where he suffered much at the hands of a flogging usher. Holmes, Charles John (1901), Constable, The Sign of the Unicorn, VII Cecil Court, St.Martin's Lane,
970:, Constable proposed a three-fold thesis: firstly, landscape painting is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught.
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on 40 prints after his landscapes, one of which went through 13 proof stages, corrected by Constable in pencil and paint. Constable said, "Lucas showed me to the public without my faults", but the venture was not a financial success.
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1121:, for example, convey a vigour and expressiveness missing from Constable's finished paintings of the same subjects. Possibly more than any other aspect of Constable's work, the oil sketches reveal him in retrospect to have been an
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After a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable, John. Delphi Collected Works of John Constable (Illustrated) (Masters of Art Book 17) (p. 15). Delphi Classics. Kindle
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the age of 41. Intensely saddened, Constable wrote to his brother Golding, "hourly do I feel the loss of my departed AngelâGod only knows how my children will be brought up...the face of the World is totally changed to me".
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two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other."
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Thereafter, he dressed in black and was, according to Leslie, "a prey to melancholy and anxious thoughts". He cared for his seven children alone for the rest of his life. The children were John Charles, Maria Louisa,
519:. Constable used the money from these commissions towards his wedding with Maria Bicknell. This period of Constable's painting is heavily populated with idyllic country scenes with heavy detail, notably his 1816 work
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as the artist's main entry. This may have occurred after Fisher forwarded Constable the money for the painting. This both helped him out of a financial difficulty and nudged him along to get the painting done.
487:, which he found dull, though he executed many fine portraits. He also painted occasional religious pictures but, according to John Walker, "Constable's incapacity as a religious painter cannot be overstated."
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John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding Constable, a wealthy corn merchant and Ann (Watts) Constable. Delphi Collected Work of John Constable, 2015, page
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His nature was peculiarly social and could not feel satisfied with scenery, however grand in itself, that did not abound in human associations. He required villages, churches, farmhouses and cottages.
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From 1809, his childhood friendship with Maria Elizabeth Bicknell developed into a deep, mutual love. Their marriage in 1816 when Constable was 40 was opposed by Maria's grandfather, Dr. Rhudde,
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This period saw his art move from the serenity of its earlier phase, to a more broken and accented style. The turmoil and distress of his mind is clearly seen in his later six-foot masterpieces
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In 1806 Constable undertook a two-month tour of the Lake District. He told his friend and biographer, Charles Leslie, that the solitude of the mountains oppressed his spirits, and Leslie wrote:
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Of Constable's colour, Delacroix wrote in his journal: "What he says here about the green of his meadows can be applied to every tone". Delacroix repainted the background of his 1824
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Three weeks before their marriage, Constable revealed that he had started work on his most ambitious project to date In a letter to Maria Bicknell from East Bergholt, he wrote:
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was shown at the Royal Academy's exhibition. Although it failed to find a buyer, it was viewed by some important people of the time, including two Frenchmen, the artist
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over lighter passages, creating an impression of sparkling light enveloping the entire landscape. One of the most expressionistic and powerful of all his studies is
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Shortly before Maria died, her father had also died, leaving her ÂŁ20,000. Constable speculated disastrously with the money, paying for the engraving of several
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of East Bergholt. He considered the Constables his social inferiors and threatened Maria with disinheritance. Maria's father, Charles Bicknell, solicitor to
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was therefore exhibited the following year to more fanfare and sold for 150 guineas on the first day of the exhibition, the only Constable ever to do so.
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He began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of lectures at the
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The sketches themselves were the first ever done in oils directly from the subject in the open air, with the notable exception of the oil sketches
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attributed his artistic development to the influence of his well to do relative, Thomas Allen and the London contacts he introduced Constable to.
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in February 1829, at the age of 52. In 1831 he was appointed Visitor at the Royal Academy, where he seems to have been popular with the students.
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most forceful landscapes produced in 19th-century Europeâ, for many they are the defining works of the artist's career. The series also includes
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made in Rome around 1780. To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he
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until Constable was financially secure. After they died in quick succession, Constable inherited a fifth share in the family business.
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In 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the
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although he was initially unsure of the suitability of Brighton as a subject for painting. In a letter to Fisher in 1824 he wrote
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Although he managed to scrape an income from painting, it was not until 1819 that Constable sold his first important canvas,
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Constable adopted a routine of spending winter in London and painting at East Bergholt in summer. In 1811 he first visited
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Romanticism & the school of nature : nineteenth-century drawings and paintings from the Karen B. Cohen collection
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574:(with Fisher officiating) was followed by time at Fisher's vicarage and a honeymoon tour of the south coast. The sea at
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to his friend John Fisher, finally providing Constable with a level of financial freedom he had never before known.
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an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips farther afield.
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at the age of 52. His work was embraced in France, where he sold more than in his native England and inspired the
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418:(then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to
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a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.
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and John was expected to succeed his father in the business. After a brief period at a boarding school in
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marked an important turning point in Constableâs career; its success saw him elected an associate of the
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on the Stour estuary, and used to transport corn to London. He was a cousin of the London tea merchant,
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By 1803, he was exhibiting paintings at the Royal Academy. In April he spent almost a month aboard the
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after seeing the Constables at Arrowsmith's Gallery, which he said had done him a great deal of good.
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In 2019 two drawings by Constable were found among the possessions of the late playwright and poet,
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for courses. The largest collection of original Constable paintings outside London is on display at
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Constable's Great Landscapes: The Six-Foot Paintings at the National Gallery of Art, Washington, DC
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Constableâs pleasure at his own success was dampened after his wife started displaying symptoms of
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Another source of income was country house painting. In 1816, he was commissioned by Major-General
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in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of
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3636:"The Remarkable Story of the 'Six-Foot Sketches'", Constable: The Great Landscapes, ed. Anne Lyles
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painter, one who demonstrated that landscape painting could be taken in a totally new direction.
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3115:"John Constable sketches found among box of dusty drawings by son of playwright during clearout"
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594:âI am now in the midst of a large picture here which I had contemplated for the next exhibition
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Constableâs Wivenhoe Park is widely recognized as an important work in the artistâs career.
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as it visited south-east ports while sailing from London to Deal before leaving for China.
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that year, where they caused a sensation, with the Hay Wain being awarded a gold medal by
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844:(1826) is now in the collection of the Royal Academy of Arts. Constableâs final attempt,
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Constable attributed his gift 'to all that lay on the Stour river', however, biographer
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In 1802 he refused the position of drawing master at Great Marlow Military College (now
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Constable's watercolours were also remarkably free for their time: the almost mystical
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in which he spelled out his determination to become a professional landscape painter:
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6396:
5614:
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387:. Among works that particularly inspired him during this period were paintings by
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6336:
6291:
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721:âa more exact look of nature than any picture we have ever seen by an Englishmanâ
257:
6011:
4949:
4344:
3919:
Portraits by the artist as a young man: Constable's parents finally identified,
279:
London. His only indisputable self-portrait, drawn by an arrangement of mirrors.
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248:(1821). Although his paintings are now among the most popular and valuable in
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5996:
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292:
67:
5756:
1221:
on the classification of clouds; Constable's annotations of his own copy of
1072:
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3584:
3363:
Constable in Love: Love, Landscape, Money and the Making of a Great Painter
2156:
1897:
1720:
1518:
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1301:
1048:
937:
860:. Her growing illness meant that Constable took lodgings for his family in
857:
753:
739:
668:
566:, gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton.
536:
380:
316:
276:
244:
125:
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1231:
820:
wasn't finished in time for the 1823 exhibition, leaving the much smaller
555:
501:, gift of the Manton Art Foundation in memory of Sir Edwin and Lady Manton
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5019:
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4170:
1472:
1218:
1123:
774:
643:. The painting (without the frame) sold for the substantial price of 100
484:
384:
212:
142:
319:. Although Constable was his parents' second son, his older brother was
268:
211:; 11 June 1776 â 31 March 1837) was an English landscape painter in the
5670:
4989:
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4959:
4608:
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1942:
1150:
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287:
Plaque in East Bergholt marking the site of Constableâs childhood home
6331:
5660:
5542:
4874:
4593:
2986:
1868:
1016:
915:
460:
348:
3940:, fully digitized text from The Metropolitan Museum of Art libraries
641:âon many accounts the most important picture Constable ever painted'
6471:
3092:"Unearthed John Constable drawings sell for ÂŁ92k â Addison Gazette"
861:
579:
324:
6143:
4894:
4485:
3949:
1659:
312:
216:
3901:
4588:
3845:
3829:
1818:
1522:
1498:
1407:
1329:
1305:
1280:
703:
347:, which inspired Constable. Later, while visiting relatives in
4276:
3553:
Parris, Leslie; Fleming-Williams, Ian; Shields, Conal (1976),
1253:; the drawings later sold for ÂŁ60,000 and ÂŁ32,000 at auction.
984:
Constable's tomb at the church of St John-at-Hampstead, London
188:
3552:
2824:
2822:
2557:
2555:
2242:
1822:
304:
252:, he was never financially successful. He was elected to the
3196:
The John G. Johnson Collection: A History and Selected Works
3151:
The John G. Johnson Collection: A History and Selected Works
4544:
2160:
219:, he is known principally for revolutionising the genre of
182:
2819:
2552:
200:
3902:
390 paintings by John Constable at www.John-Constable.org
3483:
Prints & People: A Social History of Printed Pictures
2701:
2699:
2697:
2695:
170:
3878:
John Constable: a complete chronology and other articles
3198:. A Philadelphia Museum of Art free digital publication.
3153:. A Philadelphia Museum of Art free digital publication.
3165:"John Constable's Stour Valley location mystery solved"
3014:
3012:
2371:
Art Book 17) (p. 429). Delphi Classics. Kindle Edition.
3534:
3516:
3320:
2838:
2836:
2751:
2749:
2692:
2594:
2518:
2516:
2514:
956:(1831), which are amongst his most expressive pieces.
4003:
The Celebration in East Bergholt of the Peace of 1814
2537:
National Gallery of Art: Constable's Great Landscapes
2206:
2204:
2065:â Yale Center for British Art and sketch Tate Britain
203:
197:
176:
173:
167:
3897:
List of works held by the Victoria and Albert Museum
3009:
1019:
in London. (His children John Charles Constable and
185:
179:
2870:
2868:
2866:
2853:
2851:
2833:
2746:
2646:
2644:
2642:
2511:
2419:
2417:
2415:
1214:have been influenced by the pioneering work of the
781:. The Hay Wain was later acquired by the collector
383:and anatomical dissections, and studied and copied
194:
164:
3693:
3671:
3613:
3554:
3340:
3113:
2629:
2627:
2625:
2623:
2621:
2619:
2617:
2201:
3907:Gallery of Constable Paintings at MuseumSyndicate
3557:Constable: Paintings, Watercolours & Drawings
6716:
3485:, Princeton, N. J.: Princeton University Press,
3429:The Birth of the Modern: World Society 1815-1830
3305:Constable: Landscape Watercolours & Drawings
3302:
2863:
2848:
2639:
2412:
1007:movement, which he considered mere "imitation".
3233:John Constable's Correspondence VI: The Fishers
2984:
2614:
1714:Portrait of Maria Bicknell, Mrs. John Constable
351:, he was introduced to the professional artist
3806:Constable and Salisbury. The soul of landscape
3754:, Birmingham: University of Birmingham Press,
3535:Parris, Leslie; Fleming-Williams, Ian (1982),
3517:Parris, Leslie; Fleming-Williams, Ian (1991),
3321:Fleming-Williams, Ian; Parris, Leslie (1984),
2595:Parris, Leslie; Fleming-Williams, Ian (1991).
1913:The Grove, or the Admiral's House in Hampstead
535:Maria Bicknell, painted by Constable in 1816.
4292:
4235:Cenotaph to the Memory of Sir Joshua Reynolds
4139:Salisbury Cathedral from the Bishop's Grounds
3965:
3445:Leslie, C. R. (1995), Mayne, Jonathan (ed.),
2403:
2401:
2135:Cenotaph to the Memory of Sir Joshua Reynolds
2012:Salisbury Cathedral from the Bishop's Grounds
1950:Salisbury Cathedral from the Bishop's Grounds
1440:Salisbury Cathedral from the Bishop's Grounds
1064:is in possession of a portrait by Constable.
823:Salisbury Cathedral from the Bishop's Grounds
570:John and Maria's marriage in October 1816 at
3654:John Constable: Toward a Complete Chronology
3620:, New York, NY: Metropolitan Museum of Art,
2706:National Gallery: The Hay Wain - Description
2610:New York Times: Constableâs Great Landscapes
2182:Random House Webster's Unabridged Dictionary
330:In his youth, Constable embarked on amateur
303:in East Bergholt and, later, Dedham Mill in
4059:Weymouth Bay: Bowleaze Cove and Jordon Hill
3713:
2243:Parris, Fleming-Williams & Shields 1976
2192:
2190:
1849:Harwich- The Low Lighthouse and Beacon Hill
1783:Weymouth Bay: Bowleaze Cove and Jordon Hill
19:For other people named John Constable, see
4299:
4285:
3972:
3958:
3731:
3714:Smart, Alastair; Brooks, Attfield (1976),
3192:"Two Donkeys by John Constable (inv. 155)"
2991:, Recording for the Blind & Dyslexic,
2988:John Constable : a kingdom of his own
2573:Sothebyâs: Landscapes of Constable Country
2532:
2530:
2398:
1443:c. 1825. As a gesture of appreciation for
1297:Flatford Mill (Scene on a Navigable River)
709:The following year, his second six-footer
601:Flatford Mill (Scene on a Navigable River)
335:I love such things." He was introduced to
230:Constable's most famous paintings include
38:
3700:, New Haven, CT.: Yale University Press,
3691:
3669:
3498:
3431:, University of Michigan: HarperCollins,
3266:
3078:
3042:
3030:
3018:
2960:
2886:
2728:
2480:
2392:
2380:
2358:
2314:
2210:
2197:V&A: John Constable - an introduction
339:, a collector, who showed him his prized
3696:Constable: The Painter and His Landscape
3611:
3590:
3369:
3235:, Woodbridge: Boydell & Brewer Ltd,
3147:"The Stour by John Constable (cat. 857)"
2874:
2857:
2801:
2423:
2187:
1854:â Yale Center for British Art, New Haven
1166:
1129:
1071:
926:
877:
800:
733:
611:
554:
530:
489:
465:
357:
307:. Golding Constable owned a small ship,
282:
267:
4227:Sir Richard Steele's Cottage, Hampstead
3842:348 artworks by or after John Constable
3767:
3749:
3426:
3360:
3284:
3248:
3230:
3111:
3066:
3054:
2972:
2842:
2813:
2789:
2740:
2650:
2527:
2471:Information from Constable's gravestone
2346:
2082:Sir Richard Steele's Cottage, Hampstead
1539:Sir Richard Steele's Cottage, Hampstead
1223:Researches About Atmospheric Phaenomena
6717:
3859:A gallery of Constable's cloud studies
3803:
3785:
3444:
3411:The Great Book of French Impressionism
3408:
3387:
3338:
3212:
2777:
2716:
2633:
2407:
6646:Romanticism and the French Revolution
4280:
3953:
3929:Memoirs of the Life of John Constable
3651:
3633:
3480:
3462:
3447:Memoirs of the Life of John Constable
3253:, New York: Parkstone International,
2948:
2548:Tate: Constable: The Great Landscapes
2305:15). Delphi Classics. Kindle Edition.
1631:Landscape: Ploughing Scene in Suffolk
1580:
1038:property, open to the public. Nearby
1023:are also buried in this family tomb.)
483:To make ends meet, Constable took up
4211:Salisbury Cathedral from the Meadows
4035:Golding Constable's Vegetable Garden
3574:
3215:John Constable: A Kingdom of His Own
3189:
3144:
3126:from the original on 12 January 2022
2120:â Victoria and Albert Museum, London
2071:Salisbury Cathedral from the Meadows
1955:â Victoria and Albert Museum, London
1881:â Victoria and Albert Museum, London
1686:â Victoria and Albert Museum, London
1201:Salisbury Cathedral from the Meadows
953:Salisbury Cathedral from the Meadows
933:Salisbury Cathedral from the Meadows
814:A number of distractions meant that
607:
3501:John Constable: The Man and His Art
3347:, Newton Abbot, UK: Readers Union,
1812:Weymouth Bay with Approaching Storm
1667:The Stour Valley And Dedham Village
1587:List of paintings by John Constable
996:The inscription on Constable's tomb
672:, 1821 (National Gallery, London);
13:
3979:
3112:Alberge, Dalya (3 February 2019).
1744:The Quarters behind Alresford Hall
1703:Golding Constable's Kitchen Garden
751:In 1821, his most famous painting
678:Huntington Library and Art Gallery
14:
6811:
6800:18th-century English male artists
4155:Branch Hill Pond, Hampstead Heath
4027:Golding Constable's Flower Garden
3823:
2925:"Extensive Landscape with Clouds"
2599:. London: Tate. pp. 193â194.
2017:â Frick Collection, New York City
1692:Golding Constable's Flower Garden
1634:(1814, revised c. 1816 and 1831)
1423:Branch Hill Pond, Hampstead Heath
6699:
6698:
4011:Boat-Building Near Flatford Mill
3853:Sketch for Hadleigh Castle c1828
3828:
3134:– via www.telegraph.co.uk.
2663:National Gallery: Stratford Mill
1681:Boat-building near Flatford Mill
1564:
1547:
1530:
1505:
1481:
1464:
1431:
1414:
1392:
1370:
1353:
1336:
1312:
1288:
1272:Boat-Building Near Flatford Mill
1263:
1246:of the late nineteenth century.
989:
977:
160:
6730:Burials at St John-at-Hampstead
4306:
4261:Charles Golding Constable (son)
4115:Hampstead Heath, with a Bonfire
3465:Constable: The Great Landscapes
3205:
3183:
3157:
3138:
3105:
3084:
3072:
3060:
3048:
3036:
3024:
2978:
2966:
2954:
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2917:
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2880:
2807:
2795:
2783:
2771:
2760:
2734:
2722:
2710:
2667:
2656:
2603:
2588:
2584:Tate: Constableâs âSix-Footersâ
2577:
2566:
2541:
2486:
2474:
2465:
2440:
2429:
2386:
2374:
2364:
2352:
2340:
2330:
2320:
2308:
2298:
2288:
2006:â Royal Academy of Arts, London
1975:Seascape Study with Rain Clouds
1708:â Christchurch Mansion, Ipswich
1697:â Christchurch Mansion, Ipswich
263:
21:John Constable (disambiguation)
4219:The Opening of Waterloo Bridge
4019:Stour Valley and Dedham Church
3596:Constable: The Natural Painter
3303:Fleming-Williams, Ian (1976),
2278:
2268:
2258:
2248:
2236:
2216:
2173:
2125:Hampstead Heath with a Rainbow
2093:The Opening of Waterloo Bridge
1514:The Opening of Waterloo Bridge
1196:Seascape Study with Rain Cloud
1172:Seascape Study with Rain Cloud
1003:He also spoke against the new
379:as a probationer, he attended
1:
6785:19th-century English painters
6775:18th-century English painters
6669:Wanderer above the Sea of Fog
3790:, London: Thames and Hudson,
3678:, London: Thames and Hudson,
3413:, New York: Abbeville Press,
3388:Holmes, Charles John (2012),
3374:, Weidenfeld & Nicolson,
2265:John Constable, 2015, page 14
2087:â Yale Center for British Art
1928:View on the Stour near Dedham
1378:View on the Stour near Dedham
851:
771:View on the Stour near Dedham
674:View on the Stour near Dedham
273:John Constable, Self-portrait
3946:- Research on John Constable
3855:â Great Works of Western Art
3656:, Portland, Oregon: Author,
3271:, Lavenham: Terence Dalton,
2052:National Gallery of Scotland
1777:â Philadelphia Museum of Art
1751:National Gallery of Victoria
1612:â Philadelphia Museum of Art
1188:Pierre-Henri de Valenciennes
1026:
517:National Gallery of Victoria
7:
3835:Paintings by John Constable
3692:Rosenthal, Michael (1983),
3670:Rosenthal, Michael (1987),
3467:, London: Tate Publishing,
3390:John Constable: Illustrated
3339:Fraser, John Lloyd (1976),
3325:, London: Hamish Hamilton,
3231:Beckett, Ronald B. (1962),
2767:R.A.: A Boat passing a Lock
1764:Scene on a Navigable River)
1674:Museum of Fine Arts, Boston
1638:Yale Center for British Art
1617:Landscape: Two Boys Fishing
1013:St John-at-Hampstead Church
889:Yale Center for British Art
810:(1824). Private collection.
765:. According to the painter
526:
509:to paint his country home,
291:John Constable was born in
16:English painter (1776â1837)
10:
6816:
6735:English landscape painters
6586:Coleridge's theory of life
3893:Victoria and Albert Museum
3886:Victoria and Albert Museum
3598:, St Albans, UK: Panther,
3499:Parkinson, Ronald (1998),
3323:The Discovery of Constable
3249:Charles, Victoria (2015),
2829:Tate: Chain Pier, Brighton
2562:Sothebyâs: The White Horse
2140:â National Gallery, London
2028:â National Gallery, London
1995:Dunedin Public Art Gallery
1907:â National Gallery, London
1892:â National Gallery, London
1835:A Scene on the River Stour
1601:Victoria and Albert Museum
1584:
1517:, oil on canvas, c. 1832.
1493:, 1826â27, oil on canvas,
1300:, c. 1816, oil on canvas,
1277:Victoria and Albert Museum
1256:
1139:Victoria and Albert Museum
1062:Somerville College, Oxford
18:
6790:People from Dedham, Essex
6755:People from East Bergholt
6740:English romantic painters
6678:
6641:Romanticism and economics
6578:
6470:
6217:
6039:
5984:
5953:
5877:
5826:
5775:
5734:
5643:
5587:
5551:
5505:
5496:
5341:
5285:
5234:
5193:
5152:
5106:
5048:
4918:
4797:
4719:
4656:Manuel AntĂŽnio de Almeida
4638:
4629:
4515:
4383:
4314:
4253:
3987:
3891:A Sketchbook by Constable
3768:Vaughan, William (2002),
3750:Thornes, John E. (1999),
3732:Sunderland, John (1986),
3716:Constable and His Country
3612:Reynolds, Graham (1983),
3463:Lyles, Anne, ed. (2006),
3343:John Constable: 1776â1837
3285:Cormack, Malcolm (1986),
3267:Constable, Freda (1975),
1649:The Mill Stream, Flatford
1021:Charles Golding Constable
369:Scottish National Gallery
138:
118:
110:
102:
91:
75:
53:
37:
30:
4421:German historical school
3883:Constable's Oil Sketches
3804:Wilcox, Timothy (2011),
3561:, London: Tate Gallery,
3481:Mayor, A. Hyatt (1980),
3370:Hamilton, James (2022),
3361:Gayford, Martin (2009),
3213:Bailey, Anthony (2007),
2985:Bailey, Anthony (2008),
2230:29 November 2014 at the
2167:
1798:A Cottage in a Cornfield
1207:Cottage at East Bergholt
1083:National Gallery, London
745:National Gallery, London
6745:English watercolourists
5068:JĂłzef Ignacy Kraszewski
4243:Arundel Mill and Castle
3652:Rhyne, Charles (1990),
3634:Rhyne, Charles (2006),
2146:Arundel Mill and Castle
1805:National Museum Cardiff
1736:National Gallery of Art
1556:Arundel Mill and Castle
1402:, 1825, oil on canvas,
1380:, 1822, oil on canvas,
1324:, 1820, oil on canvas,
842:âA Boat Passing a Lockâ
719:described it as having
572:St Martin-in-the-Fields
562:, 1816, oil on canvas.
497:, 1816, oil on canvas.
477:National Gallery of Art
321:intellectually disabled
275:1806, pencil on paper,
6651:Romanticism in science
6606:Middle Ages in history
6601:List of Romantic poets
5313:Josiah Gilbert Holland
3931:, ed C. R. Leslie 1843
3752:John Constable's Skies
3427:Johnson, Paul (1991),
3409:Kelder, Diane (1980),
3190:Thompson, Jennifer A.
3145:Thompson, Jennifer A.
2129:â Tate Britain, London
2109:â Tate Britain, London
2098:â Tate Britain, London
2076:â Tate Britain, London
2039:â Tate Britain, London
1935:The Huntington Library
1768:â Tate Britain, London
1559:, oil on canvas, 1837.
1542:, oil on canvas, 1832.
1365:, oil on canvas, 1820.
1348:, oil on canvas, 1820.
1183:
1142:
1086:
1067:
1046:(the house visible in
959:He was elected to the
941:
892:
872:
811:
785:who donated it to the
748:
626:
596:
567:
540:
502:
480:
453:
429:
372:
288:
280:
6795:Rother Valley artists
6780:English male painters
6750:Artists from Brighton
6621:Romantic epistemology
6611:Opium and Romanticism
5180:StojadinoviÄ-Srpkinja
4406:Counter-Enlightenment
4123:Road to the Spaniards
3944:Charles Rhyne Archive
3912:22 March 2009 at the
3868:Royal Academy of Arts
3837:at Wikimedia Commons
3786:Walker, John (1979),
3579:, London: Blandford,
3575:Pool, Phoebe (1964),
3372:Constable: A Portrait
2756:ssSothebyâs: The Lock
1982:Royal Academy of Arts
1426:, oil on canvas, 1825
1404:Royal Academy of Arts
1180:Royal Academy of Arts
1170:
1157:exhibited in London;
1133:
1075:
1054:Field Studies Council
930:
881:
867:
804:
737:
700:Royal Academy of Arts
637:Charles Robert Leslie
615:
592:
558:
534:
493:
469:
449:
424:
377:Royal Academy Schools
361:
311:, which he moored at
286:
271:
254:Royal Academy of Arts
223:with his pictures of
6685:Age of Enlightenment
4327:England (literature)
4179:Chain Pier, Brighton
2153:Toledo Museum of Art
2034:Chain Pier, Brighton
1920:Alte Nationalgalerie
1876:Dedham Lock and Mill
1729:Wivenhoe Park, Essex
1656:Christchurch Mansion
1490:Chain Pier, Brighton
1230:contemporaries like
1058:Christchurch Mansion
1044:Willy Lott's Cottage
896:Chain Pier, Brighton
512:Wivenhoe Park, Essex
507:Francis Slater Rebow
96:St John-at-Hampstead
6636:Romantic psychology
4431:Hudson River School
4375:Sweden (literature)
4360:Russia (literature)
3736:, London: Phaidon,
3616:Constable's England
3503:, London: V&A,
3449:, London: Phaidon,
3289:, Oxford: Phaidon,
3217:, London: Vintage,
2523:Tate: Flatford Mill
2179:"Constable, John,"
1449:Bishop of Salisbury
909:Clark Art Institute
729:Clark Art Institute
564:Clark Art Institute
499:Clark Art Institute
389:Thomas Gainsborough
341:Hagar and the Angel
295:, a village on the
215:tradition. Born in
6760:Royal Academicians
4621:White Mountain art
4562:Historical fiction
4370:Spain (literature)
4187:The Vale of Dedham
4075:Harwich Lighthouse
2045:The Vale of Dedham
1968:Private Collection
1865:Fitzwilliam Museum
1738:, Washington, D.C.
1581:Selected paintings
1386:Los Angeles County
1382:Huntington Library
1345:Harwich Lighthouse
1184:
1143:
1087:
1052:) are used by the
942:
893:
812:
759:Théodore Géricault
749:
692:Private Collection
682:Los Angeles County
627:
568:
541:
503:
481:
459:and his family in
405:Jacob van Ruisdael
373:
364:The Vale of Dedham
289:
281:
221:landscape painting
114:Landscape painting
70:, Suffolk, England
44:John Constable by
6712:
6711:
6626:Romantic medicine
6596:List of romantics
6035:
6034:
5686:Felix Mendelssohn
5681:Fanny Mendelssohn
5492:
5491:
5206:RosalĂa de Castro
5144:Soares dos Passos
4492:Transcendentalism
4456:Nazarene movement
4416:DĂŒsseldorf School
4274:
4273:
4266:Constable Country
4131:Gillingham Bridge
3997:List of paintings
3833:Media related to
3815:978-1-85759-678-6
3808:, London: Scala,
3743:978-0-7148-2754-4
3645:978-1-85437-635-0
3399:978-0-9567303-6-7
3260:978-1-78042-954-0
3242:978-0-90071-609-6
3224:978-1-84413-833-3
3171:. 26 January 2010
2448:"The Wheat Field"
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1575:by John Constable
1400:The Leaping Horse
1242:, and the French
1112:The Leaping Horse
968:Royal Institution
846:The Leaping Horse
696:The Leaping Horse
608:The âSix-Footersâ
401:Annibale Carracci
397:Peter Paul Rubens
353:John Thomas Smith
148:
147:
6807:
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6701:
6661:Evolution theory
5503:
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3537:Lionel Constable
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795:Massacre de Scio
787:National Gallery
767:EugĂšne Delacroix
664:National Gallery
623:Frick Collection
598:The picture was
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6591:German idealism
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4195:Hadleigh Castle
4091:Waterloo Bridge
4067:The White Horse
3983:
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2104:The Valley Farm
2060:Hadleigh Castle
1903:Landscape: Noon
1859:Hampstead Heath
1843:, New York City
1830:The White Horse
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1240:Barbizon School
1204:, 1831, and in
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994:
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947:Hadleigh Castle
905:Charles Golding
884:Hadleigh Castle
854:
715:was exhibited.
649:The White Horse
635:, described by
632:The White Horse
618:The White Horse
610:
529:
521:The Wheat Field
495:The Wheat Field
337:George Beaumont
266:
258:Barbizon school
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6579:Related topics
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3545:
3532:
3527:
3514:
3509:
3496:
3491:
3478:
3473:
3460:
3455:
3442:
3437:
3424:
3419:
3406:
3398:
3385:
3381:978-1474612913
3380:
3367:
3358:
3353:
3336:
3331:
3318:
3313:
3300:
3295:
3282:
3277:
3269:John Constable
3264:
3259:
3246:
3241:
3228:
3223:
3209:
3207:
3204:
3202:
3201:
3182:
3156:
3137:
3104:
3083:
3079:Parkinson 1998
3071:
3059:
3047:
3043:Parkinson 1998
3035:
3031:Parkinson 1998
3023:
3019:Parkinson 1998
3008:
2977:
2965:
2961:Parkinson 1998
2953:
2941:
2916:
2891:
2887:Parkinson 1998
2879:
2862:
2847:
2832:
2818:
2806:
2794:
2782:
2770:
2759:
2745:
2733:
2729:Parkinson 1998
2721:
2709:
2691:
2675:"Malvern Hall"
2666:
2655:
2638:
2613:
2602:
2587:
2576:
2565:
2551:
2540:
2526:
2510:
2485:
2481:Parkinson 1998
2473:
2464:
2439:
2428:
2411:
2397:
2393:Parkinson 1998
2385:
2381:Parkinson 1998
2373:
2363:
2359:Parkinson 1998
2351:
2339:
2329:
2319:
2315:Parkinson 1998
2307:
2297:
2287:
2277:
2267:
2257:
2247:
2235:
2215:
2211:Parkinson 1998
2200:
2186:
2171:
2169:
2166:
2165:
2164:
2142:
2131:
2122:
2111:
2100:
2089:
2078:
2067:
2056:
2041:
2030:
2019:
2008:
1999:
1989:Brighton Beach
1986:
1971:
1957:
1946:
1924:
1909:
1894:
1887:Stratford Mill
1883:
1872:
1856:
1845:
1826:
1808:
1794:
1779:
1770:
1755:
1740:
1725:
1710:
1699:
1688:
1677:
1663:
1645:
1627:
1623:Anglesey Abbey
1614:
1605:
1585:Main article:
1582:
1579:
1578:
1577:
1570:
1563:
1561:
1553:
1546:
1544:
1536:
1529:
1527:
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1487:
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1437:
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1411:
1398:
1391:
1389:
1376:
1369:
1367:
1359:
1352:
1350:
1342:
1335:
1333:
1321:Stratford Mill
1318:
1311:
1309:
1294:
1287:
1285:
1269:
1262:
1258:
1255:
1244:impressionists
1160:The Chain Pier
1095:Anthony Bailey
1069:
1066:
1036:National Trust
1032:Bridge Cottage
1028:
1025:
1005:Gothic Revival
995:
988:
987:
983:
976:
975:
974:
973:
972:
853:
850:
763:Charles Nodier
712:Stratford Mill
659:Stratford Mill
609:
606:
528:
525:
420:John Dunthorne
393:Claude Lorrain
345:Claude Lorrain
265:
262:
151:John Constable
146:
145:
140:
136:
135:
122:
116:
115:
112:
111:Known for
108:
107:
104:
100:
99:
93:
89:
88:
85:
83:(aged 60)
77:
73:
72:
66:
55:
51:
50:
46:Daniel Gardner
43:
35:
34:
32:John Constable
31:
15:
9:
6:
4:
3:
2:
6812:
6801:
6798:
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5628:
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5427:
5425:
5422:
5420:
5417:
5415:
5412:
5410:
5407:
5405:
5402:
5400:
5399:Nikolai Gogol
5397:
5395:
5392:
5390:
5387:
5385:
5382:
5380:
5377:
5375:
5372:
5370:
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5260:
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5061:
5059:
5056:
5055:
5053:
5051:
5047:
5041:
5038:
5036:
5033:
5031:
5030:P. B. Shelley
5028:
5026:
5023:
5021:
5018:
5016:
5013:
5011:
5010:Mary Robinson
5008:
5006:
5003:
5001:
4998:
4996:
4993:
4991:
4988:
4986:
4983:
4981:
4978:
4976:
4973:
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4966:
4963:
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4951:
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4908:
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4777:
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4772:
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4767:
4765:
4762:
4760:
4757:
4755:
4752:
4750:
4747:
4745:
4742:
4740:
4739:Chateaubriand
4737:
4735:
4732:
4730:
4727:
4726:
4724:
4722:
4718:
4712:
4709:
4707:
4704:
4702:
4699:
4697:
4694:
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4689:
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4682:
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4607:
4605:
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4597:
4595:
4592:
4590:
4587:
4585:
4582:
4580:
4577:
4575:
4572:
4570:
4569:
4568:Mal du siĂšcle
4565:
4563:
4560:
4556:
4553:
4551:
4548:
4547:
4546:
4543:
4541:
4538:
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4531:
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4500:
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4414:
4412:
4409:
4407:
4404:
4402:
4399:
4397:
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4392:
4389:
4388:
4386:
4382:
4376:
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4208:
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4192:
4189:
4188:
4184:
4181:
4180:
4176:
4173:
4172:
4168:
4165:
4164:
4163:The Cornfield
4160:
4157:
4156:
4152:
4149:
4148:
4144:
4141:
4140:
4136:
4133:
4132:
4128:
4125:
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4120:
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4112:
4109:
4108:
4104:
4101:
4100:
4096:
4093:
4092:
4088:
4085:
4084:
4080:
4077:
4076:
4072:
4069:
4068:
4064:
4061:
4060:
4056:
4053:
4052:
4051:Flatford Mill
4048:
4045:
4044:
4043:Wivenhoe Park
4040:
4037:
4036:
4032:
4029:
4028:
4024:
4021:
4020:
4016:
4013:
4012:
4008:
4005:
4004:
4000:
3998:
3995:
3994:
3992:
3990:
3986:
3982:
3975:
3970:
3968:
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3956:
3955:
3952:
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3911:
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3903:
3900:
3898:
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3884:
3881:
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3876:
3874:
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3865:
3862:
3860:
3857:
3854:
3850:
3847:
3843:
3840:
3839:
3838:
3836:
3831:
3817:
3811:
3807:
3802:
3799:
3797:0-500-09133-1
3793:
3789:
3784:
3781:
3779:1-85437-434-6
3775:
3771:
3766:
3763:
3761:1-902459-02-4
3757:
3753:
3748:
3745:
3739:
3735:
3730:
3727:
3725:0-236-40011-8
3721:
3717:
3712:
3709:
3707:0-300-03014-2
3703:
3698:
3697:
3690:
3687:
3685:0-500-20211-7
3681:
3676:
3675:
3668:
3665:
3663:0-9627197-0-6
3659:
3655:
3650:
3647:
3641:
3637:
3632:
3629:
3627:9780870993350
3623:
3618:
3617:
3610:
3607:
3605:0-586-04401-9
3601:
3597:
3593:
3589:
3586:
3582:
3578:
3573:
3570:
3568:0-905005-15-5
3564:
3559:
3558:
3551:
3548:
3546:0-905005-38-4
3542:
3538:
3533:
3530:
3528:1-85437-070-7
3524:
3520:
3515:
3512:
3510:1-85177-243-X
3506:
3502:
3497:
3494:
3492:0-691-00326-2
3488:
3484:
3479:
3476:
3474:1-85437-635-7
3470:
3466:
3461:
3458:
3456:0-7148-3360-6
3452:
3448:
3443:
3440:
3438:9780060165741
3434:
3430:
3425:
3422:
3420:0-89659-151-4
3416:
3412:
3407:
3405:
3401:
3395:
3391:
3386:
3383:
3377:
3373:
3368:
3364:
3359:
3356:
3354:0-09-125540-6
3350:
3345:
3344:
3337:
3334:
3332:0-241-11248-6
3328:
3324:
3319:
3316:
3314:0-905005-10-4
3310:
3306:
3301:
3298:
3296:0-7148-2350-3
3292:
3288:
3283:
3280:
3278:0-900963-54-9
3274:
3270:
3265:
3262:
3256:
3252:
3247:
3244:
3238:
3234:
3229:
3226:
3220:
3216:
3211:
3210:
3197:
3193:
3186:
3170:
3166:
3160:
3152:
3148:
3141:
3125:
3121:
3120:The Telegraph
3116:
3108:
3093:
3087:
3081:, p. 129
3080:
3075:
3068:
3063:
3056:
3051:
3045:, p. 110
3044:
3039:
3032:
3027:
3020:
3015:
3013:
2998:
2994:
2990:
2989:
2981:
2974:
2969:
2962:
2957:
2951:, nos 455â460
2950:
2945:
2930:
2926:
2920:
2905:
2901:
2895:
2888:
2883:
2876:
2875:Reynolds 1983
2871:
2869:
2867:
2859:
2858:Reynolds 1983
2854:
2852:
2845:, p. 128
2844:
2839:
2837:
2830:
2825:
2823:
2816:, p. 128
2815:
2810:
2803:
2802:Reynolds 1983
2798:
2792:, p. 128
2791:
2786:
2780:, p. 164
2779:
2774:
2768:
2763:
2757:
2752:
2750:
2743:, p. 162
2742:
2737:
2731:, p. 132
2730:
2725:
2718:
2713:
2707:
2702:
2700:
2698:
2696:
2680:
2676:
2670:
2664:
2659:
2653:, p. 614
2652:
2647:
2645:
2643:
2636:, p. 116
2635:
2630:
2628:
2626:
2624:
2622:
2620:
2618:
2611:
2606:
2598:
2591:
2585:
2580:
2574:
2569:
2563:
2558:
2556:
2549:
2544:
2538:
2533:
2531:
2524:
2519:
2517:
2515:
2499:
2495:
2489:
2482:
2477:
2468:
2453:
2449:
2443:
2437:
2432:
2425:
2424:Reynolds 1983
2420:
2418:
2416:
2409:
2404:
2402:
2394:
2389:
2382:
2377:
2367:
2360:
2355:
2348:
2343:
2333:
2323:
2316:
2311:
2301:
2291:
2281:
2271:
2261:
2251:
2244:
2239:
2233:
2229:
2226:
2225:
2219:
2212:
2207:
2205:
2198:
2193:
2191:
2184:
2183:
2176:
2172:
2162:
2158:
2154:
2149:(c. 1836â37)
2148:
2147:
2143:
2137:
2136:
2132:
2126:
2123:
2117:
2116:
2112:
2106:
2105:
2101:
2095:
2094:
2090:
2084:
2083:
2079:
2073:
2072:
2068:
2062:
2061:
2057:
2053:
2047:
2046:
2042:
2036:
2035:
2031:
2025:
2024:
2023:The Cornfield
2020:
2014:
2013:
2009:
2003:
2000:
1996:
1991:(c. 1824â26)
1990:
1987:
1983:
1977:
1976:
1972:
1969:
1963:
1962:
1958:
1952:
1951:
1947:
1944:
1940:
1936:
1930:
1929:
1925:
1921:
1915:
1914:
1910:
1904:
1900:
1899:
1895:
1889:
1888:
1884:
1878:
1877:
1873:
1870:
1866:
1860:
1857:
1851:
1850:
1846:
1842:
1836:
1832:
1831:
1827:
1824:
1820:
1814:
1813:
1809:
1806:
1800:
1799:
1795:
1791:
1785:
1784:
1780:
1774:
1771:
1765:
1761:
1760:
1759:Flatford Mill
1756:
1752:
1746:
1745:
1741:
1737:
1731:
1730:
1726:
1722:
1716:
1715:
1711:
1705:
1704:
1700:
1694:
1693:
1689:
1683:
1682:
1678:
1675:
1669:
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1664:
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1657:
1651:
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1633:
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1628:
1624:
1618:
1615:
1609:
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1596:
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1562:
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1557:
1550:
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1541:
1540:
1533:
1528:
1524:
1520:
1516:
1515:
1508:
1503:
1500:
1496:
1492:
1491:
1484:
1479:
1475:
1474:
1467:
1462:
1458:
1457:New York City
1454:
1450:
1446:
1442:
1441:
1434:
1429:
1425:
1424:
1417:
1412:
1409:
1405:
1401:
1395:
1390:
1387:
1383:
1379:
1373:
1368:
1364:
1363:
1356:
1351:
1347:
1346:
1339:
1334:
1331:
1327:
1323:
1322:
1315:
1310:
1307:
1303:
1299:
1298:
1291:
1286:
1282:
1278:
1274:
1273:
1266:
1261:
1260:
1254:
1252:
1247:
1245:
1241:
1237:
1233:
1227:
1224:
1220:
1217:
1216:meteorologist
1211:
1209:
1208:
1203:
1202:
1197:
1193:
1189:
1181:
1177:
1173:
1169:
1165:
1163:
1161:
1154:
1152:
1148:
1140:
1136:
1132:
1128:
1126:
1125:
1120:
1119:
1114:
1113:
1108:
1102:
1098:
1096:
1091:
1084:
1080:
1079:
1078:The Cornfield
1074:
1065:
1063:
1059:
1055:
1051:
1050:
1045:
1041:
1040:Flatford Mill
1037:
1033:
1024:
1022:
1018:
1014:
1008:
1006:
992:
980:
971:
969:
964:
962:
961:Royal Academy
957:
955:
954:
949:
948:
939:
935:
934:
929:
925:
922:
917:
912:
910:
906:
900:
897:
890:
886:
885:
880:
876:
871:
866:
863:
859:
849:
847:
843:
838:
837:
832:
831:
825:
824:
819:
818:
809:
808:
803:
799:
797:
796:
790:
788:
784:
783:Henry Vaughan
780:
776:
772:
768:
764:
760:
756:
755:
746:
742:
741:
736:
732:
730:
726:
722:
718:
714:
713:
707:
705:
701:
697:
693:
689:
688:
683:
679:
675:
671:
670:
665:
661:
660:
654:
653:Royal Academy
650:
646:
642:
638:
634:
633:
624:
620:
619:
614:
605:
603:
602:
595:
591:
588:
586:
585:Osmington Bay
581:
577:
573:
565:
561:
560:Osmington Bay
557:
553:
550:
546:
538:
533:
524:
522:
518:
514:
513:
508:
500:
496:
492:
488:
486:
479:, Washington.
478:
474:
473:
472:Wivenhoe Park
468:
464:
462:
458:
452:
448:
445:
443:
442:
438:
437:East Indiaman
433:
428:
423:
421:
417:
416:Benjamin West
413:
408:
406:
402:
398:
394:
390:
386:
382:
378:
370:
366:
365:
360:
356:
354:
350:
346:
342:
338:
333:
328:
326:
322:
318:
314:
310:
309:The Telegraph
306:
302:
301:Flatford Mill
298:
294:
293:East Bergholt
285:
278:
274:
270:
261:
259:
255:
251:
247:
246:
241:
240:
235:
234:
233:Wivenhoe Park
228:
226:
222:
218:
214:
208:
156:
152:
144:
141:
137:
134:
133:
128:
127:
123:
117:
113:
109:
105:
101:
97:
94:
92:Resting place
90:
79:31 March 1837
78:
74:
69:
68:East Bergholt
56:
52:
47:
41:
36:
29:
26:
22:
6697:
6690:
6683:
6667:
6387:Porto-Alegre
6261:
6041:Philosophers
5925:Rachmaninoff
5374:Chavchavadze
5364:Baratashvili
5124:JoĂŁo de Deus
5093:Wincenty Pol
4885:KĂŒchelbecker
4613:
4579:Noble savage
4566:
4532:
4507:Wallenrodism
4484:
4470:
4401:Coppet group
4335:(literature)
4241:
4233:
4225:
4217:
4209:
4201:
4193:
4185:
4177:
4169:
4161:
4153:
4145:
4137:
4129:
4121:
4113:
4107:Malvern Hall
4105:
4099:The Hay Wain
4097:
4089:
4081:
4073:
4065:
4057:
4049:
4041:
4033:
4025:
4017:
4009:
4001:
3980:
3936:
3928:
3921:The Guardian
3920:
3844: at the
3827:
3805:
3787:
3769:
3751:
3733:
3715:
3695:
3673:
3653:
3635:
3615:
3595:
3576:
3556:
3536:
3518:
3500:
3482:
3464:
3446:
3428:
3410:
3389:
3371:
3362:
3342:
3322:
3304:
3286:
3268:
3250:
3232:
3214:
3206:Bibliography
3195:
3185:
3173:. Retrieved
3168:
3159:
3150:
3140:
3128:. Retrieved
3119:
3107:
3095:. Retrieved
3086:
3074:
3069:, p. 56
3067:Thornes 1999
3062:
3057:, p. 68
3055:Thornes 1999
3050:
3038:
3033:, p. 89
3026:
3021:, p. 64
3000:, retrieved
2987:
2980:
2975:, p. 51
2973:Thornes 1999
2968:
2963:, p. 50
2956:
2944:
2932:. Retrieved
2928:
2919:
2907:. Retrieved
2903:
2900:"Chapter 33"
2894:
2889:, p. 33
2882:
2877:, p. 21
2860:, p. 20
2843:Thornes 1999
2814:Thornes 1999
2809:
2804:, p. 18
2797:
2790:Charles 2015
2785:
2773:
2762:
2741:Charles 2015
2736:
2724:
2719:, p. 27
2712:
2682:. Retrieved
2678:
2669:
2658:
2651:Johnson 1991
2605:
2596:
2590:
2579:
2568:
2543:
2501:. Retrieved
2497:
2488:
2483:, p. 24
2476:
2467:
2455:. Retrieved
2451:
2442:
2431:
2426:, p. 86
2395:, p. 22
2388:
2383:, p. 18
2376:
2366:
2361:, p. 17
2354:
2349:, p. 96
2347:Thornes 1999
2342:
2332:
2322:
2317:, p. 15
2310:
2300:
2290:
2280:
2270:
2260:
2250:
2238:
2223:
2218:
2180:
2175:
2144:
2133:
2124:
2113:
2102:
2091:
2080:
2069:
2058:
2043:
2032:
2021:
2010:
2001:
1988:
1973:
1967:
1959:
1948:
1926:
1911:
1902:
1898:The Hay Wain
1896:
1885:
1874:
1858:
1847:
1834:
1828:
1810:
1796:
1781:
1772:
1763:
1757:
1742:
1727:
1721:Tate Britain
1712:
1701:
1690:
1679:
1670:(1814â1815)
1665:
1647:
1629:
1616:
1607:
1593:
1573:The Hay Wain
1572:
1571:A detail of
1554:
1537:
1519:Tate Britain
1512:
1495:Tate Britain
1488:
1471:
1438:
1421:
1399:
1377:
1360:
1343:
1319:
1302:Tate Britain
1295:
1270:
1248:
1228:
1222:
1212:
1205:
1199:
1195:
1185:
1175:
1171:
1159:
1155:
1146:
1144:
1134:
1122:
1118:The Hay Wain
1117:
1111:
1107:oil sketches
1103:
1099:
1092:
1088:
1076:
1060:in Ipswich.
1049:The Hay Wain
1047:
1030:
1009:
1002:
965:
958:
951:
945:
943:
938:Tate Britain
931:
913:
901:
895:
894:
882:
873:
868:
858:tuberculosis
855:
845:
841:
834:
828:
821:
815:
813:
805:
793:
791:
770:
754:The Hay Wain
752:
750:
740:The Hay Wain
738:
725:Malvern Hall
724:
720:
717:The Examiner
710:
708:
695:
691:
685:
673:
669:The Hay Wain
667:
657:
648:
640:
630:
628:
616:
599:
597:
593:
589:
584:
569:
559:
542:
537:Tate Britain
520:
510:
504:
494:
482:
470:
454:
450:
446:
440:
434:
430:
425:
409:
381:life classes
374:
362:
340:
329:
317:Abram Newman
308:
290:
277:Tate Gallery
272:
264:Early career
245:The Hay Wain
243:
237:
231:
229:
150:
149:
130:
126:The Hay Wain
124:
120:Notable work
81:(1837-03-31)
64:11 June 1776
25:
6770:1837 deaths
6765:1776 births
6377:MichaĆowski
6209:Wackenroder
6174:F. Schlegel
6169:A. Schlegel
5945:Tchaikovsky
5834:Bortkiewicz
5706:R. Schumann
5701:C. Schumann
5666:Kalkbrenner
5635:Saint-Saëns
4940:Anne Brontë
4825:Eichendorff
4810:B. v. Arnim
4805:A. v. Arnim
4615:Weltschmerz
4574:Medievalism
4523:Blue flower
4451:Nationalist
4396:Bohemianism
4308:Romanticism
4171:Parham Mill
3864:Web feature
2778:Bailey 2007
2717:Kelder 1980
2634:Bailey 2007
2408:Walker 1979
2213:, p. 9
2054:, Edinburgh
1773:Two Donkeys
1753:, Melbourne
1625:, Cambs, NT
1594:Dedham Vale
1473:Parham Mill
1445:John Fisher
1219:Luke Howard
1124:avant-garde
950:(1829) and
921:David Lucas
775:Paris Salon
761:and writer
666:, London);
485:portraiture
457:John Fisher
385:old masters
371:, Edinburgh
297:River Stour
250:British art
242:(1828) and
239:Dedham Vale
225:Dedham Vale
143:Romanticism
132:Dedham Vale
103:Nationality
6719:Categories
6252:Chassériau
6227:Aivazovsky
5935:Rubinstein
5920:Mussorgsky
5869:Wieniawski
5854:Paderewski
5696:Moszkowski
5479:Vörösmarty
5469:Shevchenko
5323:Longfellow
5247:Batyushkov
5242:Baratynsky
5211:Espronceda
5078:Mickiewicz
5073:Malczewski
5040:Wordsworth
5025:M. Shelley
4980:de Quincey
4845:GĂŒnderrode
4729:Baudelaire
4609:Wanderlust
4446:Lake Poets
3365:, Fig Tree
3175:26 January
2949:Mayor 1980
2115:Stonehenge
1978:(1824â25)
1939:San Marino
1916:(1821â22)
1786:(1816â17)
1238:, but the
1151:Stonehenge
1147:Stonehenge
1135:Stonehenge
916:mezzotints
852:Later life
60:1776-06-11
6692:Modernism
6352:Kiprensky
6312:GĂ©ricault
6297:Friedrich
6287:Delacroix
6262:Constable
6242:Bonington
6232:Bierstadt
6184:Senancour
6159:Schelling
6114:Lamennais
6109:Khomyakov
6074:Coleridge
6069:Chaadayev
5976:StankoviÄ
5971:Mokranjac
5890:Balakirev
5849:Moniuszko
5798:Donizetti
5793:Cherubini
5691:Meyerbeer
5676:Marschner
5651:Beethoven
5564:Moscheles
5498:Musicians
5484:Wergeland
5449:Orbeliani
5404:Grundtvig
5308:Hawthorne
5277:Zhukovsky
5272:Vyazemsky
5257:Lermontov
5216:Gutiérrez
5175:RadiÄeviÄ
5139:Herculano
5063:KrasiĆski
5005:Radcliffe
4975:Coleridge
4950:E. Brontë
4945:C. Brontë
4875:Jean Paul
4870:Hölderlin
4759:Lamartine
4696:MagalhĂŁes
4686:GuimarĂŁes
4594:Pantheism
4584:Nostalgia
4436:Indianism
4384:Movements
4315:Countries
3989:Paintings
3788:Constable
3734:Constable
3674:Constable
3519:Constable
3287:Constable
3251:Constable
3002:2 October
2997:218805873
2597:Constable
1997:, Dunedin
1869:Cambridge
1837:) (1819)
1642:New Haven
1608:The Stour
1236:Delacroix
1232:GĂ©ricault
1182:, London.
1141:, London.
1027:Locations
1017:Hampstead
870:sea-side.
789:in 1886.
779:Charles X
549:George IV
461:Salisbury
412:Sandhurst
349:Middlesex
332:sketching
6704:Category
6520:Dahlhaus
6505:Blanning
6472:Scholars
6442:Tropinin
6437:Tidemand
6427:Stattler
6422:Scheffer
6322:GĆowacki
6292:Edelfelt
6247:Bryullov
6189:Snellman
6164:Schiller
6154:Rousseau
6134:Michelet
6079:Constant
6049:Belinsky
6022:Sibelius
5966:KonjoviÄ
5940:Scriabin
5910:Lyapunov
5844:LipiĆski
5813:Spontini
5803:Paganini
5747:Goldmark
5538:Thalberg
5533:Schubert
5513:Bruckner
5474:Topelius
5464:Runeberg
5454:PreĆĄeren
5424:Leopardi
5389:Frashëri
5379:Eminescu
5359:Andersen
5267:Tyutchev
5252:Karamzin
5226:Zorrilla
5221:Saavedra
5119:Castilho
5107:Portugal
5098:SĆowacki
5000:Polidori
4930:Barbauld
4865:Hoffmann
4820:Brentano
4734:Bertrand
4555:Romantic
4391:Ancients
4365:Scotland
4147:The Lock
3910:Archived
3594:(1976),
3169:BBC News
3124:Archived
2295:Edition.
2285:Edition.
2228:Archived
1984:, London
1961:The Lock
1922:, Berlin
1905:; 1821)
1792:, London
1723:, London
1603:, London
1275:, 1815.
1210:, 1833.
1192:scumbled
1137:(1835).
1081:(1826).
936:(1831).
887:(1829).
862:Brighton
836:The Lock
830:The Lock
817:The Lock
807:The Lock
743:(1821).
698:, 1825 (
690:, 1824 (
687:The Lock
676:, 1822 (
662:, 1820 (
621:(1819).
580:Brighton
576:Weymouth
527:Marriage
475:(1816).
367:(1828).
325:Lavenham
236:(1816),
213:Romantic
139:Movement
98:, London
6545:Lovejoy
6480:Abraham
6402:Richard
6392:Préault
6317:Girodet
6199:Thoreau
6144:Novalis
6129:Mazzini
6124:Maistre
6099:Hazlitt
6084:Emerson
6064:Carlyle
6054:Berchet
5997:Berwald
5992:Bennett
5961:HristiÄ
5915:Medtner
5895:Borodin
5885:Arensky
5808:Rossini
5783:Bellini
5762:Joachim
5735:Hungary
5716:Strauss
5644:Germany
5610:Berlioz
5579:VoĆĂĆĄek
5574:Smetana
5552:Czechia
5506:Austria
5439:Maturin
5434:Manzoni
5409:Heliade
5384:Foscolo
5354:Alfieri
5349:Abovian
5303:Emerson
5262:Pushkin
5201:BĂ©cquer
5134:Garrett
5088:Potocki
5035:Southey
4995:Maturin
4965:Carlyle
4922:Britain
4895:Novalis
4850:Gutzkow
4798:Germany
4764:Mérimée
4749:Gautier
4676:Barreto
4671:Azevedo
4651:Alencar
4631:Writers
4550:Byronic
4486:Purismo
4340:Germany
4322:Denmark
4254:Related
3585:3365016
2934:14 June
2684:14 June
2503:14 June
2457:14 June
2138:(1836)
2127:(1836)
2118:(1835)
2107:(1835)
2096:(1832)
2085:(1832)
2074:(1831)
2063:(1829)
2048:(1828)
2037:(1827)
2026:(1826)
2015:(1825)
2004:(1825)
1964:(1824)
1953:(1823)
1931:(1822)
1890:(1820)
1879:(1820)
1861:(1820)
1852:(1820)
1815:(1819)
1801:(1817)
1775:(1816)
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1706:(1815)
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1684:(1815)
1660:Ipswich
1652:(1814)
1619:(1813)
1610:(1810)
1597:(1802)
1257:Gallery
1178:1824).
727:(1821,
694:); and
645:guineas
313:Mistley
217:Suffolk
106:British
6570:Wellek
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6535:Janion
6525:Ferber
6500:Berlin
6495:Beiser
6490:Barzun
6485:Abrams
6462:Wiertz
6447:Turner
6397:RĂ©voil
6382:Palmer
6372:Martin
6367:Leutze
6342:Janmot
6302:Fuseli
6257:Church
6149:Quinet
6139:MĂŒller
6094:Goethe
6089:Fichte
6012:Franck
5954:Serbia
5905:Glinka
5878:Russia
5864:Tausig
5859:Stolpe
5839:Chopin
5827:Poland
5788:Busoni
5752:Heller
5721:Wagner
5656:Brahms
5630:Onslow
5620:Halévy
5588:France
5569:Reicha
5559:DvoĆĂĄk
5528:Mahler
5523:Hummel
5518:Czerny
5414:Isaacs
5394:Geijer
5328:Lowell
5318:Irving
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5235:Russia
5170:NjegoĆĄ
5165:KostiÄ
5160:JakĆĄiÄ
5153:Serbia
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4890:Mörike
4880:Kleist
4835:Goethe
4830:Fouqué
4779:Nodier
4774:Nerval
4769:Musset
4721:France
4711:Varela
4706:Taunay
4691:Macedo
4639:Brazil
4589:Ossian
4516:Themes
4355:Poland
4350:Norway
4332:France
4246:(1837)
4238:(1836)
4230:(1832)
4222:(1832)
4214:(1831)
4206:(1830)
4198:(1829)
4190:(1828)
4182:(1827)
4174:(1826)
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4006:(1814)
3846:Art UK
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3097:25 May
2995:
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2275:London
2157:Toledo
1819:Louvre
1523:London
1499:London
1476:, 1826
1447:, the
1408:London
1330:London
1306:London
1281:London
1162:, 1827
704:London
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6565:Rosen
6560:Ricks
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6337:Hayez
6272:Corot
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6119:Larra
6104:Hegel
6059:Burke
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5985:Other
5818:Verdi
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3866:from
2168:Notes
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3581:OCLC
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3177:2010
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