"Associate of the Royal Academy. In 1821 he showed ""The Hay Wain"" (a view from Flatford Mill) at the Academy's exhibition. Théodore Géricault saw it on a visit to London and praised Constable in Paris, where a dealer, John Arrowsmith, bought four paintings, including ""The Hay Wain."" It was exhibited at the Paris Salon of 1824, winning a gold medal. 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 ""Massacre de Scio"" after seeing the Constables at Arrowsmith's"
"The Hay Wain The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as ""Constable's most famous image"" and one of the greatest and most popular English paintings. Painted in oils on canvas, the work depicts as its central feature three horses pulling what in fact appears to be a wood wain or large farm cart across the river. Willy Lott's Cottage, also the subject of an eponymous painting by"
"painting during his lifetime, and as a result it became part of the inheritance to his daughter Isabel. In 1888, she bequeathed it on behalf of herself, her sister Maria Louise and their brother Lionel Bicknell to The Tate gallery in London, where it has been displayed ever since. Flatford Mill (Scene on a Navigable River) Flatford Mill (Scene on a Navigable River) is an oil painting by English artist John Constable, painted in 1816. It is Constable's largest exhibition canvas to be painted mainly outdoors, the first of his large ""six-foot"" paintings, and the first in the ""Stour series"""
"River Stour in Suffolk from Dedham Lock. Lighter barges were towed along the river by ropes attached to a horse, which had to be disconnected to allow the barges to be poled under Flatford bridge, which the barges are approaching. In the picture, a boy is disconnecting a rope and another sits astride a tow-horse. The rear scenery depicts the wider view of East Bergholt village, set under a towering trees and a dramatic, cloud-filled sky. Constable had adopted a routine of spending the winter in London and painting at East Bergholt in the summer. In 1811 he first visited"
"Flatford Mill Flatford Mill is a Grade I listed watermill on the River Stour at Flatford in East Bergholt, Suffolk, England. According to the date-stone the mill was built in 1733, but some of the structure may be earlier. Attached to the mill is a 17th-century miller's cottage which is also Grade I listed. The property is in Dedham Vale, a typically English rural landscape. The mill was owned by the artist John Constable's father and is noted, along with its immediate surroundings as the location for many of Constable's works. It is referred to in the title of one"
"Flatford Mill Flatford Mill is a Grade I listed watermill on the River Stour at Flatford in East Bergholt, Suffolk, England. According to the date-stone the mill was built in 1733, but some of the structure may be earlier. Attached to the mill is a 17th-century miller's cottage which is also Grade I listed. The property is in Dedham Vale, a typically English rural landscape. The mill was owned by the artist John Constable's father and is noted, along with its immediate surroundings as the location for many of Constable's works. It is referred to in the title of one"
"Flatford Flatford is a small hamlet close to East Bergholt in Suffolk. It is most famous for Flatford Mill, Willy Lott's Cottage and Bridge Cottage, immortalised in the paintings of John Constable. Flatford is accessible by Road from East Bergholt, with a limited access route looping down to the main Flatford Car park. The route is a two way road at the top section, allowing access to the properties there. From the car park onwards though the route is one way, back into East Bergholt, emerging near the village War memorial and the church. As well as being able to"
"John Constable John Constable, (; 11 June 1776 – 31 March 1837) was an English landscape painter in the naturalistic tradition. 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"". Constable's most famous paintings include ""Wivenhoe Park"" of 1816, ""Dedham Vale"" of 1802 and ""The Hay Wain"" of 1821. Although his paintings"
"walk from East Bergholt along the road route, Flatford can also be accessed on foot from Manningtree and Dedham, Essex. The hamlet is approximately from Manningtree railway station, to which it is linked by an off-road footpath. Flatford Flatford is a small hamlet close to East Bergholt in Suffolk. It is most famous for Flatford Mill, Willy Lott's Cottage and Bridge Cottage, immortalised in the paintings of John Constable. Flatford is accessible by Road from East Bergholt, with a limited access route looping down to the main Flatford Car park. The route is a two way road at the top"
"Constable originally exhibited the finished work with the title ""Landscape: Noon"", suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature. Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbor, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage has survived to this day practically unaltered, but none of the trees in the painting exist today. Although ""The"
"and substituted the figures of the two boys. Exhibited at the Royal Academy in 1817 under the title ""Scene on a Navigable River"", Constable repainted the tops of the trees and the entire sky afterwards. This was in time for the picture's second showing at the British Institution in January 1818, where it was given the title ""Flatford Mill"". Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, ""The White Horse"", which led to a series of ""six footers"", as he called his large-scale paintings. Constable never sold the"
"The National Trust. The cottage is located on the bank of the River Stour, just downstream from Flatford Mill in the heart of Dedham Vale, a typically English rural landscape. Flatford Mill, along with neighbouring Valley Farm and Bridge Cottage, are leased to the Field Studies Council, which uses them as locations for arts-based courses such as painting and as accommodation for sciences-based courses such as residential ecology trips for schools at A-level and younger. The cottage takes its name from its resident at the time John Constable did his paintings. At that time the house was known as Gibeons"
"The Lock (Constable) The Lock is an oil painting by English artist John Constable, finished in 1824. It depicts a rural scene on the River Stour in Suffolk, one of six paintings within the ""Stour series"". It was auctioned for £22,441,250 at Christie's in London on 3 July 2012. ""The Lock"" is painted in oil on canvas. It depicts a working rural scene from Suffolk, as a figure struggles to open a canal gate at Dedham Lock near Flatford Mill in Suffolk to allow a lighter barge to progress on the River Stour. There is a distant view of Dedham"
"compositions, such as his views of Salisbury Cathedral. The Foster version remains in private hands, one of just three such major works by Constable, and was auctioned at Sotheby's London on the evening of 9 December 2015 on its low estimate at £9,109,000. Previous owners of the painting include William Orme Foster (1814–1900) of Apley Hall, Shropshire, one time High Sheriff of Shropshire, and his descendants. The Lock (Constable) The Lock is an oil painting by English artist John Constable, finished in 1824. It depicts a rural scene on the River Stour in Suffolk, one of six paintings within the"
"Stratford St. Mary Stratford St. Mary is a village in Suffolk, England in the heart of 'Constable Country'. John Constable painted a number of paintings in and around Stratford. Stratford (the ford of the Roman ""Via Strata"") with its attached hamlet of Higham sits on the Suffolk/Essex border on the River Stour, Suffolk. It is from London just off the A12 between Colchester and Ipswich. The village has a fifteenth-century flint faced church which is clearly visible from the A12. It is also served by a primary school, post office and village store, and three pubs. Stratford village is within"
"church across the quintessentially English water meadows The scene is set under a towering tree and a dramatic, cloud-filled sky. ""The Lock"" is the fifth of six paintings that make up the ""Stour series"" of large-scale rural works, that Constable exhibited at the Royal Academy between 1819 and 1825. The painting is the only one of the series which remains in private hands, with the more famous ""The Hay Wain"" in the National Gallery, London. After its exhibition in 1824, ""The Morning Post"" commented: ""Mr Constable contributes a landscape composition which for depth, sparkling light, freshness and vigorous effect exceeds"
"Bridge Cottage Bridge Cottage is a 16th-century thatched cottage in Flatford, East Bergholt, Suffolk, England. It has been a National Trust property since 1943 and a Grade II* listed building since 1955. The National Trust market the property under the name ""Flatford: Bridge Cottage"". The building is timber framed, but this is not evident from the outside as it is rendered. The property is located in the heart of Dedham Vale, a typical Suffolk rural landscape. It is noted as the location for works by John Constable, and presents an exhibition of his paintings. The cottage is located just upstream"
"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 contemporaries like Géricault and Delacroix, but the Barbizon School, and the French impressionists of the late nineteenth century. See also for those with their own articles. John Constable John Constable, (; 11 June 1776 – 31 March 1837) was an English landscape painter in the naturalistic tradition. Born in Suffolk, he is known principally for his landscape paintings"
"The Vale of Dedham (painting) The Vale of Dedham is an 1828 oil painting by the English painter John Constable which depicts Dedham Vale on the Essex-Suffolk border in eastern England. It is in the permanent collection of the National Galleries of Scotland, Edinburgh. The view from Gun Hill along the River Stour to Dedham village and the distant Stour estuary was a favourite subject of Constable which he painted several times, most noticeably the 1802 version in the Victoria and Albert Museum. In this work the paint is thickly applied with touches of white to emphasise the reflection of"
"sunlight. The work was primarily responsible for his admission to the prestigious Royal Academy of Arts in 1829. The Vale of Dedham (painting) The Vale of Dedham is an 1828 oil painting by the English painter John Constable which depicts Dedham Vale on the Essex-Suffolk border in eastern England. It is in the permanent collection of the National Galleries of Scotland, Edinburgh. The view from Gun Hill along the River Stour to Dedham village and the distant Stour estuary was a favourite subject of Constable which he painted several times, most noticeably the 1802 version in the Victoria and Albert"
"Dedham Vale Dedham Vale is a designated Area of Outstanding Natural Beauty on the Essex-Suffolk border in east England. It comprises the area around the River Stour between Manningtree and Smallbridge Farm, 1 mile (1.6 km) east of Bures, including the village of Dedham in Essex. It is part of the area known as ""Constable Country"", as it was made famous by the paintings of the English Romantic painter John Constable. Among many other works of the area are his ""Dedham Vale"" paintings of 1802 and 1828, held in the Victoria and Albert Museum in London and the Scottish National"
"in the battle of Trafalgar. She can be seen at least partially in paintings of the battle by Clarkson Frederick Stanfield, John Christian Schetky, Nicholas Pocock, Thomas Buttersworth and Thomas Whitcombe. A fictionalised depiction of her launch was produced by Philip Burgoyne. Later representations of the retired ""Temeraire"" were also popular. Though no known contemporary image of her in the prison ship role exists, she was painted while a guardship on the Medway in 1833 by Edward William Cooke, and by William Beatson and J. J. Williams while laid up at Rotherhithe in 1838. More recently she has been the"
"Wivenhoe Park (painting) Wivenhoe Park is a painting of an English landscape park, the estate of the Rebow family, by the English Romantic painter, John Constable (1776–1837). John Constable was born in Suffolk, and is known principally for his landscape paintings, especially the landscapes of the countryside where he spent his childhood. His paintings are now considered among the most popular and valuable in British art. The National Gallery of Art holds this painting as one of its highlights:A pleasant sense of ease and harmony pervades this landscape of almost photographic clarity. The large areas of brilliant sunshine and cool"
"'Constable Country'. The artist chose a cottage in the village overlooking the Stour as a subject to one of his sketches 'Fisherman's cottage in Brantham with a view of Mistley Hall' in 1796. The drawing, which is in the V&A museum in London is one of the earliest dated drawings by Constable of which the whereabouts are now known. The Tudor didactic poet Thomas Tusser settled at Katwade (now Cattawade) and is believed to have written his most famous work ""A Hundreth Good Pointes of Husbandrie"" at Braham Hall. The lord of the manor of Brantham in the 15th century"
"Constable embarked on amateur sketching 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, I love such things."" He was introduced to George Beaumont, a collector, who showed him his prized ""Hagar and the Angel"" by Claude Lorrain, which inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to the professional artist John Thomas Smith,"
"as in Julius Caesar Ibbetson's ""Phaeton in a Thunderstorm"" (1798, now Temple Newsam, Leeds) which shows a carriage struggling up a rough mountain road. It has a label on the back by the artist, recording that the incident occurred when he was travelling in Wales with the artist John ""Warwick"" Smith and the aristocrat Robert Fulke Greville. Ibbetson visited Wales often, and was also one of the first artists to record the Welsh Industrial Revolution, and scenes of Welsh life. North Wales tended to be more visited; the young watercolourist John Sell Cotman embarked on his ""first extended sketching tour"""
"light enveloping the entire landscape. One of the most expressionistic and powerful of all his studies is ""Seascape Study with Rain Cloud"", painted about 1824 at Brighton, which captures with slashing dark brushstrokes the immediacy of an exploding cumulus shower at sea. Constable also became interested in painting rainbow effects, for example in ""Salisbury Cathedral from the Meadows"", 1831, and in """", 1833. 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"
"son undertook work on the Wye and Lugg. Ferries formerly existed at Rochford, at Cotheridge and at Clifton on Teme. Some very local navigation is indicated by a newspaper advertisement in 1750 that the miller at Stanford-on-Teme had a boat for sale, capable of carrying 10 tons. However, with no locks available, this vessel would have been unable to pass mill weirs. Pictures, allegedly of Ludlow or its castle with a river and boats (thought to date from c. 1830), such as a painting allegedly of Dinham Bridge, Ludlow, are probably at least partly derived from the artist's imagination. This"
"1700. In 1828 the area and the nearby river were painted by Joseph Stannard, prominent in the Norwich School; entitled ""Boats on the Yare near Bramerton, Norfolk"", his painting is now in the Fitzwilliam Museum in Cambridge. In Victorian times the inn possessed tea rooms and gardens popular with river-borne day-trippers from Norwich. The Woods End is still a popular spot for the mooring of pleasure craft and is also one of the few places on the Norfolk Broads where water skiing is allowed. Outside the pub (now renamed the ""Water's Edge"") is a statue of Billy Bluelight (William Cullum),"
"remarkably free for their time: the almost mystical ""Stonehenge"", 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted. When he exhibited it in 1836, Constable appended a text to the title: ""The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period."" In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and"
"on account ""of three Landscape Paintings, Views of Burton Constable"". These are still at Burton Constable, one showing the house with parkland in front. There is also a portrait of William Constable by Barret in the house. In the mid-1770s Barret was undertaking work for patrons in Hampshire and the Isle of Wight. An example of this is a painting in the National Gallery of Scotland of the Thistlethwaite family with their house, Southwick Park, set in parkland behind them. This painting is very similar to the painting of Burton Constable Hall, and in both instances the animals and figures"
"Beyond that in the far distance is the beach at Greenhill. A larger version of the painting called ""Osmington Shore"" was exhibited by Constable at the British Institution in 1819. Weymouth Bay: Bowleaze Cove and Jordon Hill Weymouth Bay: Bowleaze Cove and Jordon Hill was painted by the leading English landscape artist John Constable in 1816–17. The painting now hangs in the National Gallery, London. In October 1816, Constable spent his honeymoon at the village of Osmington near the seaside town of Weymouth in Dorset. The idea for this painting dates from this period. The painting shows a view of"
"in October 1816 at St Martin-in-the-Fields (with Fisher officiating) was followed by time at Fisher's vicarage and a honeymoon tour of the south coast. The sea at Weymouth and Brighton 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. Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, ""The White Horse"", which led to a series of ""six footers"", as he called his large-scale paintings. That year he was elected an"