John Constable

For other people named John Constable, see John

Constable (disambiguation).
John Constable, RA (/knstbl kn-/;[1] 11 June
1776 31 March 1837) was an English Romantic painter.
Born in Suolk, he is known principally for his landscape
paintings of Dedham Vale, the area surrounding his
homenow known as Constable Countrywhich he
invested with an intensity of aection. I should paint
my own places best, he wrote to his friend John Fisher
in 1821, painting is but another word for feeling.[2]
His most famous paintings include Wivenhoe Park of
1816,[3] Dedham Vale of 1802 and The Hay Wain of
1821. Although his paintings are now among the most
popular and valuable in British art, Constable was never
nancially successful. He did not become a member
of the establishment until he was elected to the Royal
Academy at the age of 52. His work was embraced in
France, where he sold more works than in his native England and inspired the Barbizon school.

Early career

John Constable was born in East Bergholt, a village on the

River Stour in Suolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of
Flatford Mill in East Bergholt and, later, Dedham Mill in
Essex. Golding Constable owned a small ship, The Telegraph, which he moored at Mistley on the Stour estuary,
and used to transport corn to London. He was a cousin
of the London tea merchant, Abram Newman. Although
Constable was his parents second son, his older brother
was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a
boarding school in Lavenham, he was enrolled in a day
school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram
eventually took over the running of the mills.

John Constable, Self-portrait 1806, pencil on paper, Tate

Gallery London. His only indisputable self-portrait, drawn by
an arrangement of mirrors.[4]

which inspired Constable. Later, while visiting relatives

in Middlesex, he was introduced to the professional artist
John Thomas Smith, who advised him on painting but
also urged him to remain in his fathers business rather
than take up art professionally.
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, and studied and copied old masters. Among
works that particularly inspired him during this period
were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van
Ruisdael. He also read widely among poetry and sermons,
and later proved a notably articulate artist. By 1803, he
was exhibiting paintings at the Royal Academy.

In his youth, Constable embarked on amateur sketching

trips in the surrounding Suolk 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.[5] He was introduced to George Beaumont, a collector, who showed In 1802 he refused the position of drawing master at
him his prized Hagar and the Angel by Claude Lorrain, Great Marlow Military College, a move which Benjamin
1

MARRIAGE AND MATURITY

To make ends meet, Constable took up portraiture, which

he found dull, though he executed many ne portraits.
He also painted occasional religious pictures but, according to John Walker, Constables incapacity as a religious
painter cannot be overstated.[10]
Constable adopted a routine of spending winter in London and painting at East Bergholt in summer. In 1811
he rst visited John Fisher and his family in Salisbury, a
city whose cathedral and surrounding landscape were to
inspire some of his greatest paintings.

2 Marriage and maturity

Dedham Vale (1802)

West (then master of the RA) counselled would mean the

end of his career. In that year, Constable wrote a letter to
John Dunthorne in which he spelled out his determination
to become a professional landscape painter:
His early style has many qualities associated with his mature work, including a freshness of light, colour and touch,
and reveals the compositional inuence of the old masters
he had studied, notably of Claude Lorrain.[7] Constables
usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions
of wild landscapes and ruins. He made occasional trips
further aeld.
Maria Bicknell, painted by Constable in 1816

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
Marias grandfather, Dr Rhudde, rector of East Bergholt.
He considered the Constables his social inferiors and
threatened Maria with disinheritance. Marias father,
Charles Bicknell, solicitor to King George IV and the
Admiralty,[11] 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 makWivenhoe Park (1816)
ing a career in painting. Golding and Ann Constable,
In 1803 he spent almost a month aboard the East India- while approving the match, held out no prospect of supman ship Coutts as it visited south-east ports, and in 1806 porting the marriage until Constable was nancially sehe undertook a two-month tour of the Lake District.[8] cure. After they died in quick succession, Constable inHe told his friend and biographer, Charles Leslie, that herited a fth share in the family business.
the solitude of the mountains oppressed his spirits, and John and Marias marriage in October 1816 at St Martinin-the-Fields (with Fisher ociating) was followed by
Leslie wrote:

3
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,
Charles Golding, Isobel, Emma, Alfred, and Lionel.
Only Charles Golding Constable produced ospring, a
son.[17]

Weymouth Bay (c. 1816)

time at Fishers 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 John Constable The Quarters behind Alresford Hall, 1816
greater emotional range began to be expressed in his
art.[12]
Although he had scraped an income from painting, it was
not until 1819 that Constable sold his rst 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 Associate of the Royal Academy. In 1821
he showed The Hay Wain (a view from Flatford Mill) at
the Academys exhibition. Thodore Gricault 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 Constables colour, Delacroix wrote in his journal:
The grave of John Constable, High Hampstead, London
What he says here about the green of his meadows can be
applied to every tone.[13] Delacroix repainted the background of his 1824 Massacre de Scio after seeing the Constables at Arrowsmiths Gallery, which he said had done
him a great deal of good.[14]
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 [in England] than
a rich man abroad.[10] In 1825, perhaps due partly to the
worry of his wifes ill-health, the uncongeniality of living
in Brighton (Piccadilly by the Seaside[15] ), and the pressure of numerous outstanding commissions, he quarrelled
with Arrowsmith and lost his French outlet.
The inscription on John Contables tomb
After the birth of their seventh child in January 1828,
Maria fell ill and died of tuberculosis on 23 November. Shortly before Maria died, her father had also died, leavat the age of 41. Intensely saddened, Constable wrote ing her 20,000. Constable speculated disastrously with
to his brother Golding, hourly do I feel the loss of my the money, paying for the engraving of several mezzotints
departed AngelGod only knows how my children will of some of his landscapes in preparation for a publicabe brought up...the face of the World is totally changed tion. He was hesitant and indecisive, nearly fell out with
his engraver, and when the folios were published, could
to me.[16]

3 ART

not interest enough subscribers. Constable collaborated

closely with the talented mezzotinter David Lucas 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 nancial success.[18]

The Hay Wain (1821)

The Corneld (1826)

He was elected to the Royal Academy 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 never satised with following a formula. The world is
with the students.
wide, he wrote, no two days are alike, nor even two
He began to deliver public lectures on the history of land- hours; neither were there ever two leaves of a tree alike
scape painting, which were attended by distinguished au- since the creation of all the world; and the genuine prolike those of nature, are all distinct from
diences. In a series of lectures at the Royal Institution, ductions of art,
[21]
Constable proposed a three-fold thesis: rstly, landscape each other.
painting is scientic as well as poetic; secondly, the imag- Constable painted many full-scale preliminary sketches
ination cannot alone produce art to bear comparison with of his landscapes to test the composition in advance of
reality; and thirdly, no great painter was ever self-taught. nished pictures. These large sketches, with their free
He also spoke against the new Gothic Revival movement, and vigorous brushwork, were revolutionary at the time,
and they continue to interest artists, scholars and the genwhich he considered mere imitation.
eral public. The oil sketches of The Leaping Horse and
In 1835, his last lecture to students of the Royal The Hay Wain, for example, convey a vigour and expresAcademy, in which he praised Raphael and called the siveness missing from Constables nished paintings of
Academy the cradle of British art, was cheered most the same subjects. Possibly more than any other aspect
heartily.[19] He died on the night of 31 March 1837, ap- of Constables work, the oil sketches reveal him in retparently from heart failure, and was buried with Maria rospect to have been an avant-garde painter, one who
in the graveyard of St John-at-Hampstead, Hampstead. demonstrated that landscape painting could be taken in
(His children John Charles Constable and Charles Gold- a totally new direction.
ing Constable are also buried in this family tomb.)
Constables watercolours were also remarkably free for
their time: the almost mystical Stonehenge, 1835, with its
double rainbow, is often considered to be one of the great3 Art
est watercolours ever painted.[21] When he exhibited it in
1836, Constable appended a text to the title: The mysConstable quietly rebelled against the artistic culture that terious monument of Stonehenge, standing remote on a
taught artists to use their imagination to compose their bare and boundless heath, as much unconnected with the
pictures rather than nature itself. He told Leslie, When events of past ages as it is with the uses of the present,
I sit down to make a sketch from nature, the rst thing I carries you back beyond all historical records into the obtry to do is to forget that I have ever seen a picture.[20]
scurity of a totally unknown period.[22]
Although Constable produced paintings throughout his
life for the nished picture market of patrons and R.A.
exhibitions, constant refreshment in the form of on-thespot studies was essential to his working method. He was

In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and
clouds, determined to become more scientic in his
recording of atmospheric conditions. The power of his

3.1

Gallery

3.1 Gallery
Boat-building near Flatford Mill 1815, Victoria and
Albert Museum, London
Salisbury Cathedral from the Bishops Grounds c.
1825. As a gesture of appreciation for John Fisher,
the Bishop of Salisbury, who commissioned this
painting, Constable included the Bishop and his wife
in the canvas. Their gures can be seen at the bottom left of the painting, behind the fence and under
the shade of the trees.

Seascape Study with Rain Cloud (c.1824)

The Opening of Waterloo Bridge seen from Whitehall

Stairs, 18 June 1817, oil on canvas, c. 1832. Tate
Britain

physical eects was sometimes apparent even in the full- 4 Selected paintings
scale paintings which he exhibited in London; The Chain
Pier, 1827, for example, prompted a critic to write: the
See also Category:Paintings by John Constable for those
atmosphere possesses a characteristic humidity about it,
with their own articles.
that almost imparts the wish for an umbrella.[2]
The sketches themselves were the rst ever done in oils
directly from the subject in the open air. To convey the
eects of light and movement, Constable used broken
brushstrokes, often in small touches, which he scumbled
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 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.[15] Constable also became interested in painting rainbow eects,
for example in Salisbury Cathedral from the Meadows,
1831, and in Cottage at East Bergholt, 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 scale, and the chief organ
of sentiment in a landscape painting.[23] In this habit he
is known to have been inuenced by the pioneering work
of the meteorologist Luke Howard on the classication
of clouds; Constables annotations of his own copy of
Researches About Atmospheric Phaenomena by Thomas
Forster show him to have been fully abreast of meteorological terminology.[24] I have done a good deal of skying, Constable wrote to Fisher on 23 October 1821; I
am determined to conquer all diculties, and that most
arduous one among the rest.[25]
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.[26] He could never have imagined how inuential his honest techniques would turn out to be. Constables art inspired not only contemporaries like Gricault
and Delacroix, but the Barbizon School, and the French
impressionists of the late nineteenth century.

Dedham Vale (1802) Victoria and Albert Museum,

London

Landscape: Two Boys Fishing (1813) Anglesey

Abbey, Cambs, NT

Landscape: Ploughing Scene in Suolk (1814, revised c.1816 and 1831) Yale Center for British Art,
New Haven, CT

The Stour Valley And Dedham Village (18141815)

Museum of Fine Arts, Boston[27]

Boat-building near Flatford Mill (1815) Victoria

and Albert Museum, London

Golding Constables Flower Garden (1815) Ipswich

Museum, Ipswich

Golding Constables Kitchen Garden (1815) Ipswich

Museum, Ipswich

Portrait of Maria Bicknell, Mrs. John Constable

(1816) Tate Gallery, London
Wivenhoe Park, Essex (1816) National Gallery of
Art, Washington, D.C.

Flatford Mill (original title Scene on a Navigable

River; 181617) Tate Britain
Weymouth Bay: Bowleaze Cove and Jordon Hill
(181617) National Gallery, London
The White Horse (original title A Scene on the river
Stour) (1819) Frick Collection, New York City
Hampstead Heath (1820) Fitzwilliam Museum,
Cambridge

6 NOTES
Stratford Mill (1820) National Gallery, London

(the house visible in The Hay Wain) are used by the Field
Studies Council for courses. The largest collection of
The Hay Wain (original title Landscape: Noon; original Constable paintings outside London is on display
1821) National Gallery, London
at Christchurch Mansion in Ipswich.
View on the Stour near Dedham (1822) The Huntington Library, San Marino, CA

Salisbury Cathedral from the Bishops Grounds

(1823) Victoria and Albert Museum, London
The Lock (1824) Thyssen-Bornemisza Museum,
Madrid

Seascape Study with Rain Clouds (182425) Royal

Academy of Arts, London

Brighton Beach (c.182426) Dunedin Public Art

Gallery, Dunedin

The Leaping Horse (1825) Royal Academy of Arts,

London

The Corneld (1826) National Gallery, London

Dedham Vale (1828) National Gallery of Scotland,
Edinburgh

Hadleigh Castle (1829) Yale Center for British Art

and sketch Tate Britain

Salisbury Cathedral from the Meadows (1831) Private collection; on loan to National Gallery, London

The Opening of Waterloo Bridge seen from Whitehall

Stairs, 18 June 1817 (c.1832) Tate Britain, London
The Valley Farm (1835) Tate Gallery, London
Arundel Mill and Castle (c.183637) Toledo Museum of Art, Toledo, OH

6 Notes
[1] Constable, John, Random House Websters Unabridged
Dictionary
[2] Parkinson 1998, p. 9
[3] Constables Wivenhoe Park is widely recognized as an important work in the artists career.
[4] Parris, Fleming-Williams & Shields 1976, pp. 5960
[5] Parkinson 1998, p. 15
[6] Thornes 1999, p. 96
[7] Parkinson 1998, p. 17
[8] Parkinson 1998, p. 18
[9] Parkinson 1998, p. 22
[10] Walker 1979
[11] Information from Constables gravestone
[12] Parkinson 1998, p. 24
[13] Kelder 1980, p. 27
[14] Parkinson 1998, p. 132
[15] Thornes 1999, p. 128
[16] Parkinson 1998, p. 33

Constable locations

[17] http://www.bomford.net/IrishBomfords/Chapters/
Chapter33/chapter33.htm#33.5.1%C2%A0_The_
Constable_Family_
[18] Mayor 1980, nos 455460
[19] Parkinson 1998, p. 50
[20] Thornes 1999, p. 51
[21] Parkinson 1998, p. 64
[22] Parkinson 1998, p. 89
[23] Parkinson 1998, p. 110
[24] Thornes 1999, p. 68
[25] Thornes 1999, p. 56

The Constable tomb

[26] Parkinson 1998, p. 129

Bridge Cottage is a National Trust property, open to the [27] John Constables Stour Valley location mystery solved.
public. Nearby Flatford Mill and Willie Lotts cottage
BBC News. 26 January 2010. Retrieved 26 January 2010.

Bibliography
Bailey, Anthony (2007), John Constable: A Kingdom of His Own, London: Vintage, ISBN 978-184413-833-3
Constable, Freda (1975), John Constable, Lavenham: Terence Dalton, ISBN 0-900963-54-9
Cormack, Malcolm (1986), Constable, Oxford:
Phaidon, ISBN 0-7148-2350-3

Pool, Phoebe (1964), John Constable, London:

Blandford, OCLC 3365016
Reynolds, Graham (1976), Constable: The Natural Painter, St Albans, UK: Panther, ISBN 0-58604401-9
Reynolds, Graham (1983), Constables England,
New York, NY: Metropolitan Museum of Art,
ISBN 9780870993350

Fleming-Williams, Ian (1976), Constable: Landscape Watercolours & Drawings, London: Tate,
ISBN 0-905005-10-4

Rhyne, Charles (2006), The Remarkable Story of

the 'Six-Foot Sketches", Constable: The Great Landscapes, ed. Anne Lyles, London: Tate, ISBN 978-185437-635-0

Fleming-Williams, Ian; Parris, Leslie (1984), The

Discovery of Constable, London: Hamish Hamilton,
ISBN 0-241-11248-6

Rhyne, Charles (1990), John Constable: Toward a

Complete Chronology, Portland, Oregon: Author,
ISBN 0-9627197-0-6

Fraser, John Lloyd (1976), John Constable: 1776

1837, Newton Abbot, UK: Readers Union, ISBN 009-125540-6

Rosenthal, Michael (1987), Constable, London:

Thames and Hudson, ISBN 0-500-20211-7

Gayford, Martin (2009), Constable in Love: Love,

Landscape, Money and the Making of a Great
Painter, Fig Tree
Holmes, Charles John (2012), John Constable: Illustrated, Kindle: The Bookmill, ISBN 978-09567303-6-7
Kelder, Diane (1980), The Great Book of French
Impressionism, New York: Abbeville Press, ISBN
0-89659-151-4
Leslie, C. R. (1995), Mayne, Jonathan, ed., Memoirs of the Life of John Constable, London: Phaidon,
ISBN 0-7148-3360-6
Lyles,, Anne, editor (2006), Constable: The great
landscapes, London: Tate Publishing, ISBN 185437-635-7
Mayor, A. Hyatt (1980), Prints & People: A Social
History of Printed Pictures (nos 45560), Princeton, N. J.: Princeton University Press, ISBN 0-69100326-2
Parkinson, Ronald (1998), John Constable: The
Man and His Art, London: V&A, ISBN 1-85177243-X
Parris, Leslie; Fleming-Williams, Ian (1991), Constable, London: Tate, ISBN 1-85437-070-7
Parris, Leslie; Fleming-Williams, Ian (1982), Lionel
Constable, London: Tate, ISBN 0-905005-38-4
Parris, Leslie; Fleming-Williams, Ian; Shields,
Conal (1976), Constable: Paintings, Watercolours &
Drawings, London: Tate Gallery, ISBN 0-90500515-5

Rosenthal, Michael (1983), Constable: The Painter

and His Landscape, New Haven, CT.: Yale University Press, ISBN 0-300-03014-2
Smart, Alastair; Brooks, Atteld (1976), Constable and His Country, London: Elek, ISBN 0-23640011-8
Sunderland, John (1986), Constable, London:
Phaidon, ISBN 978-0-7148-2754-4
Thornes, John E. (1999), John Constables Skies,
Birmingham: University of Birmingham Press,
ISBN 1-902459-02-4
Vaughan, William (2002), John Constable, London:
Tate, ISBN 1-85437-434-6
Walker, John (1979), Constable, London: Thames
and Hudson, ISBN 0-500-09133-1
Wilcox, Timothy (2011), Constable and Salisbury.
The soul of landscape, London: Scala, ISBN 978-185759-678-6

8 External links
A gallery of Constables cloud studies
Web feature from Royal Academy of Arts
Constables Great Landscapes: The Six-Foot Paintings at the National Gallery of Art, Washington, DC
John Constable: a complete chronology and other
articles
Constables Oil Sketches Victoria and Albert Museum

8
A Sketchbook by Constable Victoria and Albert
Museum
List of works held by the Victoria and Albert Museum
390
paintings
by
John
www.John-Constable.org

Constable

at

John Constable at Find-A-Grave

Gallery of Constable Paintings at MuseumSyndicate
Portraits by the artist as a young man: Constables
parents nally identied, The Guardian, March 4,
2009
Memoirs of the Life of John Constable ed C. R.
Leslie 1843
Romanticism & the school of nature : nineteenthcentury drawings and paintings from the Karen
B. Cohen collection, fully digitized text from The
Metropolitan Museum of Art libraries

EXTERNAL LINKS

Text and image sources, contributors, and licenses

9.1

Text

John Constable Source: https://en.wikipedia.org/wiki/John_Constable?oldid=715022526 Contributors: Magnus Manske, Danny, Deb,

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9.2

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commons/1/15/John_Constable_-_Wivenhoe_Park%2C_Essex_-_Google_Art_Project.jpg License:
Public domain Contributors:
vAG0ovJU1U65Rw at Google Cultural Institute maximum zoom level Original artist: John Constable
File:John_Constable_008.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/5e/John_Constable_008.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by
DIRECTMEDIA Publishing GmbH. Original artist: John Constable
File:John_Constable_022.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/85/John_Constable_022.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by
DIRECTMEDIA Publishing GmbH. Original artist: John Constable
File:John_Constable_027.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/23/John_Constable_027.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by
DIRECTMEDIA Publishing GmbH. Original artist: John Constable
File:John_Constable_The_Hay_Wain.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/d/d9/John_Constable_The_
Hay_Wain.jpg License: Public domain Contributors: John Constable Original artist: John Constable
File:The_grave_of_John_Constable,_High_Hampstead,_London.JPG Source: https://upload.wikimedia.org/wikipedia/commons/7/
7e/The_grave_of_John_Constable%2C_High_Hampstead%2C_London.JPG License: CC BY-SA 4.0 Contributors: Own work Original
artist: Stephencdickson
File:The_inscription_on_John_Contable{}s_tomb.JPG Source:
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inscription_on_John_Contable%27s_tomb.JPG License: CC BY-SA 4.0 Contributors: Own work Original artist: Stephencdickson
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Contributors: ? Original artist: ?

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9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

9.3

Content license

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