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    John Constable: His Palette
    John Constable: His Palette
    John Constable: His Palette
    Ebook120 pages35 minutes

    John Constable: His Palette

    By Arron Adams

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    About this ebook

    This study Art Book contains selected and annotated color plates of paintings from John Constable.

    John Constable was English painter, ranked with Turner as one of the greatest British landscape artists. Constable worked extensively in the open air, drawing and sketching, but his finished pictures were produced in the studio. Unlike many of his contemporaries Constable painted from nature rather than thinking up a composition in his minds eye prior to beginning a piece. He was excited by the prospect of ever changing nature and the way that no view ever looked the same from one day to the next. In England Constable had no real successor and the many imitators (who included his son Lionel) turned rather to the formal compositions than to the more direct sketches. In France, however, he was a major influence on Romantic painters such as Delacroix, on the members of the Barbizon School, and ultimately on the Impressionists.
    LanguageEnglish
    PublisherArron Adams
    Release dateApr 9, 2016
    ISBN9788892591677
    John Constable: His Palette

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      Book preview

      John Constable - Arron Adams

      John Constable

      His Palette

      By Arron Adams

      *****

      John Constable: His Palette

      *****

      Copyright © 2016 by Arron Adams

      Foreword

      John Constable was English painter, ranked with Turner as one of the greatest British landscape artists. Although he showed an early talent for art and began painting his native Suffolk scenery before he left school, his great originality matured slowly. He committed himself to a career as an artist only in 1799, when he joined the Royal Academy Schools, and it was not until 1829 that he was grudgingly made a full Academician, elected by a majority of only one vote. In 1816 he became financially secure on the death of his father and married Maria Bicknell after a seven-year courtship and in the face of strong opposition from her family. During the 1820s he began to win recognition: The Hay Wain (National Gallery, London, 1821) won a gold medal at the Paris Salon of 1824 and Constable was admired by Delacroix and Bonington among others. His wife died in 1828, however, and the remaining years of his life were clouded by despondency.

      After spending some years working in the Picturesque tradition of landscape and the manner of Gainsborough. Constable developed his own original treatment from the attempt to render scenery more directly and realistically, carrying on but modifying in an individual way the tradition inherited from Ruisdael and the Dutch 17th-century landscape painters. Just as his contemporary William Wordsworth rejected what he called the 'poetic diction' of his predecessors, so Constable turned away from the pictorial conventions of 18th-century landscape painters, who, he said, were always 'running after pictures and seeking the truth at second hand'. Constable thought that 'No two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world', and in a way that was then

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