John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. 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".[2]
His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England.
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John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London. Although Constable was his parents' second son, his older brother was mentally handicapped and so John was expected to succeed his father in the business, and 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.
In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk countryside that 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."[3] 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, who advised him on painting but also urged him to remain in his father's business rather than take up art professionally.
In 1799, Constable persuaded his father to let him pursue art, and Golding even 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 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 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin 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:
| “ | 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 a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.[4] | ” |
His early style has many of the 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.[5] Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He did, however, make occasional trips further afield. For example, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east coastal ports, and in 1806 he undertook a two-month tour of the Lake District.[6] But he told his friend and biographer Charles Leslie that the solitude of the mountains oppressed his spirits; Leslie went on to write:
| “ | 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.[7] | ” |
In order to make ends meet, Constable took up portraiture, which he found dull work—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."[8]
Constable adopted a routine of spending the winter in London and painting at East Bergholt in the summer. And in 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings.
From 1809 onwards, his childhood friendship with Maria Bicknell developed into a deep, mutual love. But their engagement in 1816 was opposed by Maria's grandfather, Dr. Rhudde, rector of East Bergholt, who considered the Constables his social inferiors and threatened Maria with disinheritance.
Maria's father, Charles Bicknell, a solicitor, was reluctant to see Maria throw away this inheritance, and Maria herself pointed out that a penniless marriage would detract from any chances John had of making a career in painting.
Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure; but they died in quick succession, and Constable inherited a fifth share in the family business.
John and Maria's marriage 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, where 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 register in his art.[9]
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.
He was elected an Associate of the Royal Academy that year, and 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 was soon praising Constable in Paris, where a dealer, John Arrowsmith, bought four paintings, including The Hay Wain, which 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".[10] Delacroix repainted the background of his 1824 Massacre de Scio after seeing the Constables at Arrowsmith's Gallery, which he said had done him a great deal of good.[11]
In his lifetime Constable was to sell only twenty paintings in England, but in France he sold more than twenty 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."[12]
In 1825, perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the Seaside"[13]), and the pressure of numerous outstanding commissions, he quarrelled with Arrowsmith and lost his French outlet.
After the birth of her seventh child in January 1828, Maria fell ill and died of tuberculosis that November at the age of forty-one. Intensely saddened, Constable wrote to his brother Golding, "hourly do I feel the loss of my departed Angel—God only knows how my children will be brought up…the face of the World is totally changed to me".[14]
Thereafter, he always 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.
Shortly before her death, Maria's father had died, leaving her £20,000. Constable speculated disastrously with this money, paying for the engraving of several mezzotints 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 the talented mezzotinter David Lucas on some 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.[15]
He was elected to the Royal Academy in February 1829, at the age of 52, and in 1831 was appointed Visitor at the Royal Academy, where he seems to have been popular with the students.
He also began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of such lectures at the Royal Institution, Constable proposed a threefold 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.
He also later spoke against the new Gothic Revival movement, which he considered mere "imitation".
In 1835, his last lecture to the students of the RA, in which he praised Raphael and called the R.A. the "cradle of British art", was "cheered most heartily".[16] He died on the night of the 31st March, apparently from indigestion, and was buried with Maria in the graveyard of St John-at-Hampstead, Hampstead. (His children John Charles Constable and Charles Golding Constable are also buried in this family tomb.)
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".[17]
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, and he never satisfied himself with following a formula. "The world is wide", he wrote, "no 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."[18]
Constable painted many full-scale preliminary sketches of his landscapes in order 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 oil sketches of The Leaping Horse and The Hay Wain, 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 avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction.
Constable's 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 greatest watercolours ever painted.[18] 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."[19]
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 exhibited in London; The Chain Pier, 1827, for example, prompted a critic to write: "the atmosphere possesses a characteristic humidity about it, that almost imparts the wish for an umbrella".[2]
The sketches themselves were the first ever done in oils directly from the subject in the open air. To convey the effects 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 in around 1824 at Brighton, which captures with slashing dark brushstrokes the immediacy of an exploding cumulus shower at sea.[13] Constable also became interested in painting rainbow effects, 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.[20] In this habit he is known to have been influenced by the pioneering work of the meteorologist Luke Howard on the classification of clouds; Constable's annotations of his own copy of Researches About Atmospheric Phaenomena by Thomas Forster show him to have been fully abreast of meteorological terminology.[21] "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".[22]
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".[23] 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.
Bridge Cottage is a National Trust property, open to the public. Nearby Flatford Mill and Willie Lott's cottage (the house visible in The Hay Wain) are used by the Field Studies Council for courses.
John Constable (1776-06-11 – 1837-03-31) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home. He was one of the earliest painters who painted with oil en plein air; so he made a lot of fresh and direct oil-sketches of the English landscape.
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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 — but have neither endeavoured to make my performances look as if really executed by other men.
I am come to a determination to make no idle visits this summer, nor to give up my time to common-place people. I shall return to Bergholt, where I shall make some laborious studies from nature — and I shall endeavour to get a pure and unaffected manner of representing the scenes that may employ me.
It is thus in all the fine arts. A new Gothic building, or a new missal, is in reality little less absurd than a new ruin.
JOHN CONSTABLE (1776-1837), English landscape painter, was born at East Bergholt in Suffolk on the 11th of June 1776.
His father was a man of some property, including water-mills at Dedham and Flatford, and two windmills, in which John, the second son, was set to work at the age of seventeen, after leaving Dedham grammar school. From boyhood he was devoted to painting, which he studied in his spare time in company with John Dunthorne, a local plumber and glazier. While working thus he made the acquaintance of Sir George Beaumont, a mediocre painter but a keen patron of the arts, and was inspired by the sight of Claude's " Hagar and Ishmael " and by some drawings of Girtin which Sir George possessed. His passion for art increasing, he was allowed by his father to visit London in 1795 to consult the landscape-painter Joseph Farington, R. A. (1747-1821), who recognized his originality and gave him some technical hints. He also made the acquaintance of the engraver J. T. Smith, who taught him etching, and corresponded with him during the next few years, which were spent partly in London and partly in Suffolk. In 1797 he was recalled to work in his father's counting-house at Bergholt, and it was not till February 1799 that he definitely adopted the profession of painting, and became a student at the Royal Academy. The few existing works of this period are heavy, clumsy and amateurish. Recognizing their faults, Constable worked hard at copying old masters " to acquire execution." The remedy was effective, for his sketches on a tour in Derbyshire in 180r show considerable freshness and accomplishment. In 1802 he exhibited at the Royal Academy, and was much helped and encouraged by the president, Benjamin West, who did him a further service by preventing him from accepting a drawing-mastership (offered by Archdeacon Fisher, of Salisbury), and thereby greatly stimulating his efforts. The manner of West appears strongly in the altarpiece painted by Constable for Brantham church in 1804, but Gainsborough, the Dutch masters and Girtin are the predominant influences upon his landscape, especially Girtin in the year 1805, and in 1806, when he visited the Lake District. From 1806 to 1809 Constable was frequently engaged in painting portraits or in copying portraits by Reynolds and Hoppner. The effect on his landscape was great. He learned how to construct an oil painting, and the efforts of the next few years were devoted to combining this knowledge with his innate love of the fresh colour of nature.
With the year 1811 began a critical period. He exhibited a large view of Dedham Vale, in which the characteristic features of his art appear for the first time almost fully developed, and he became attached to Miss Maria Bicknell. His suit was opposed by the lady's relatives, and Constable's apparently hopeless prospects drove him again to portrait-painting, in which he acquired considerable skill. It was not till the death of his father in 1816 that he was able to marry and settle in No. Keppel Street, Russell Square, where a succession of works now well known were painted: " Flatford Mill " (1817), " A Cottage in a Cornfield," and in 1819 " The White Horse," which was bought by his great friend Archdeacon Fisher for £105, as was the " Stratford Mill " of 1820. In 1819 two legacies each of £4000 diminished his domestic anxieties, and his talent was recognized by his election in November to the associateship of the Royal Academy. The series of important works was continued by " The Haywain " (1821), " A View on the Stour " (1822), " Salisbury Cathedral from the Bishop's Garden" (1823), and " The Lock " (1824). This last year was a memorable one. " The Haywain " was sold to a Frenchman, was exhibited at the Louvre, and, after creating a profound sensation among French artists, was awarded a gold medal. In the following year " The White Horse " won a similar distinction at Lille. In 1825 he exhibited " The Leaping Horse " (perhaps his masterpiece), in 1826 "The Cornfield," in 1827 "The Marine Parade and Chain Pier, Brighton," and in 1828 " Dedham Vale." In 1822 Constable had taken Farington's house, 35 Charlotte Street, Fitzroy Squr re, but his wife's failing health made him turn his attention to Hampstead, and after temporary occupation first of 2 Lower Terrace and then of a house on Downshire Hill, he took No. 6 Well Walk, in 1827, letting the greater part of his London house. In 1828 his financial position was made secure by a legacy of £20,000 from Mr Bicknell, but the death of his wife towards the end of the year was a shock from which he never wholly recovered. His election to membership of the Academy in the following year did not lessen his distress: he felt that the honour had been delayed too long. His chief exhibit in 1829 was " Hadleigh Castle," and this was succeeded by the great " Salisbury Cathedral from the Meadows " (1831), " The Opening of Waterloo Bridge " (1832), which had been begun in 18r7, " Englefield House " (1833), " The Valley Farm " (1835)," The Cenotaph " (1836), and" Arundel Mill and Castle" (1837). Constable had long suffered from rheumatism and nervous depression, but his sudden death on the 31st of March 1837 could be traced to no definite disease. He was buried in Hampstead churchyard, where his tomb may still be seen.
In May 1838 his remaining works were sold at auction, but fetched very small prices. Many were bought in by his children, and through their generosity have passed to the English nation, as the national collections at Trafalgar Square, Miliban_k and South Kensington testify. Nowhere else can Constable's art be studied completely or safely, since forgeries and imitations are common and have crept into the Louvre and other famous galleries. Much of the power of his work survives in the noble series of mezzotints made after his sketches by David Lucas, and first issued in 1833. Though a commercial failure at the time of publication, this English Landscape series is now deservedly prized, as are the other plates which Lucas engraved after Constable. Constable himself made a few desultory experiments in etching, but they are of no importance.
As already indicated, the mature art of Constable did not develop till after the year 1811, when he began to combine the fresh colour of nature, which he had learned to depict by working in the open air, with the art of making a picture, which he had learned from painting p ortraits and copying those of other masters. His development was unusually slow, and his finest work, with but few exceptions, was done between his fortieth and fiftieth years (1816-1826). During the last twelve years of his life his manner became more free, and the palette knife was constantly used to apply spots and splashes of pure colour, so that his technique often suggests that afterwards employed by the Impressionists. Yet his direct influence upon French landscape has sometimes been overrated. When Constable first exhibited at the Salon in 1825 Theodore Rousseau, the pioneer of French naturalism, was only twelve years old, and the movement of 1830 was really originated in France by Gros and Gericault, while in England the water-colour painters led the way. Constable's death in 1837 removed the man and most of his work from the public eye for another generation, and he became a famous shadow rather than a living force. So Monet and the Impressionists, when they sought after the secret of painting air and sunshine, looked to Turner rather than to Constable, and in England the eloquence of Ruskin pointed in the same direction.
Since the British nation came into the possession of a large portion of Constable's pictures and sketches, his work has been better understood. Though limited in range of subject to the scenery of Suffolk, Hampstead, Salisbury and Brighton, his sketches express the tone, colour, movement and atmosphere of the scenes represented with unrivalled force and truthfulness, and modern criticism tends to rate their spontaneity above the deliberate accomplishment of his large finished works. His treatment of skies is specially notable. Here his early experience as a miller told in his favour. No one has painted English cloud effects so truthfully, or used them as a compositional quantity with so much skill. Though in looking at nature he was determined to see with his own eyes and not with those of any former master, he found that the science of his predecessors was necessary to him before his sketches could be translated into large pictures. In these pictures his vivid tones and fresh colour are grafted upon the fdrmulae of Claude and Rubens, and it is a common error to regard Constable as an opponent of the great old masters. His pictures, like his writings and lectures, prove just the reverse. His dislike was reserved for the painters who took their ideas from other painters instead of getting them directly from nature.
Authorities. - Among older books see C. R. Leslie, Memoirs of the Life of John Constable, R. A. (London, znd ed. 1845, 3rd ed. 1896) (the classical work on the subject); and English Landscape Scenery, a Series of Forty Mezzotint Engravings on Steel, by David Lucas, from pictures painted by John Constable, R.A. (London, folio, 1855). The large work on Constable and his Influence on Landscape Painting, by C. J. Holmes (1902), contains the only chronological catalogue of Constable's paintings and sketches. Leslie's biography has been admirably rendered into French by M. Leon Bazalgette (Paris, H. Floury, 1905). (C. J. H.)
Categories: COM-CON | British painters
[[File:|thumb|right|160px|A pencil sketch of himself]]
John Constable (East Bergholt, Suffolk, 11 June 1776 – London, 31 March 1837) was a famous English painter and artist. His family had plenty of money because his father owned a business running corn mills. Constable's father wanted his son to take over the business after him, but Constable started painting at an early age, and convinced his father to let him follow art as a career.
He married Maria Bicknell in 1816, and they had seven children. She died in 1829 of Tuberculosis.
His paintings are treasures of British art, but in his lifetime his work was appreciated more in France. Constable's most famous painting, The Hay Wain (now in the National Gallery in London), was first shown at the Paris Salon in 1824. He had to wait until he was 52 years old before the Royal Academy voted that he should be a member.
Constable was influenced by the French painter Claude Lorrain. His most famous paintings are landscapes showing the countryside around Dedham and Flatford, where his father's mills were.
Constable's idea was to use nature itself, rather than imagination. 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".[1]p51
Although Constable produced paintings throughout his life for the market of patrons and R.A. exhibitions, on-the-spot studies were essential. He never just followed a formula. "The world is wide", he wrote, "no 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".[2]p64
Constable painted many full-scale preliminary sketches of his landscapes in order to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time. The oil sketches of [[:File:|The Leaping Horse]] and The Hay Wain study convey a vigour missing from his finished paintings of the same subjects. Compare the composition of this preliminary study with the finished painting: The Hay Wain final. Possibly more than any other aspect of Constable's work, the oil sketches reveal him to be an avant-garde painter, one who showed that landscape painting could be taken in a totally new direction.
Constable's 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 greatest watercolours ever painted.[2] 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".[2]p89
In addition to the full-scale oil sketches, Constable completed numerous studies of landscapes and clouds, to become more scientific in his recording of atmospheric conditions. The [[:File:|The Chain Pier, 1827]], for example, prompted a critic to write: "the atmosphere possesses a characteristic humidity about it, that almost imparts the wish for an umbrella".[2]p9
The sketches were the first ever done in oils directly from the subject in the open air. To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he worked over lighter passages. This gave an impression of sparkling light over the landscape. One of the most expressionistic and powerful of all his studies is Seascape Study with Rain Cloud, painted in around 1824 at Brighton, which captures with slashing dark brushstrokes an exploding shower at sea.[1]p128 Constable also became interested in painting rainbow effects, 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.[2]p110 In this habit he is known to have been influenced by the pioneering work of the meteorologist Luke Howard on the classification of clouds.[1]p68 "I have done a good deal of skying", Constable wrote to Fisher on 23 October 1821.[1]p56
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".[2]p129 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.
   | John Constable at ''Olga's Gallery'' - John Constable - Olga's Gallery |
| | John Constable at ''Find-A-Grave'' - John Constable (1776 - 1837) - Find A Grave Memorial |
| | Biography at ''Webmuseum, Paris'' - WebMuseum: Constable, John |
| | Constable's Great Landscapes: The Six-Foot Paintings at the National Gallery of Art, Washington, DC - NGA - Constable's Great Landscapes: The Six-Foot Paintings |
| | Cottage at East Bergholt (c.1833) - Liverpool museums - 'Cottage at East Bergholt', John Constable |
| | Constable's Oil Sketches - Constable's Oil Sketches - Victoria and Albert Museum |
| | A Sketchbook by Constable - A Sketchbook by Constable - Victoria and Albert Museum |
| | Gallery of Constable Paintings at MuseumSyndicate - Art by John Constable |
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