Skip to main content

John Constable: Oil Sketches from the Victoria and Albert Museum


Venues

The Princeton University Art Museum March 17 through June 10, 2012
Frist Center for the Visual Arts Nashville, TN June 22–September 30, 2012

This compelling, once-in-a-lifetime exhibition of 85 paintings, oil sketches, watercolors and drawings offers a rare insight into the revolutionary working processes of John Constable (1776–1837), England’s foremost landscape painter, who took his paint box out into the countryside, ultimately paving the way for the avant-garde French artists of the 1870s and changing the course of modern art. The Princeton University Art Museum was the first of only two North American venues for this exhibition, the most ambitious look at Constable’s work to be held in the United States in a generation.

John Constable: Oil Sketches from the Victoria and Albert Museum traced the evolution of Constable’s brilliant, fluid landscape painting style, rooted in the artist’s meticulous observation of the British countryside he knew intimately from childhood. To faithfully capture shifting effects of color and light, Constable became a master of the quick oil sketch, painting rapidly outdoors on sheets of paper or scraps of canvas pinned to the lid of his paint box. He then used these sketches as source material for fully realized exhibition landscapes, painted in his London studio. Well aware of the new theories on the natural sciences emerging during the English Enlightenment at the end of the 18th century, Constable declared, “Painting is a science, and should be pursued as an inquiry into the laws of nature.” To this end, he generally inscribed his oil sketches with the exact date, location and weather conditions in which they were made.

But to think of these studies as merely provisional works of art is to misunderstand both their complexity and their revolutionary character as improvised works, brimming with color, open brushwork, and a sense of spontaneity that allows them to be seen as “modern” even in the 21st century. Indeed, in 1821, 53 years before the first French Impressionist exhibition in 1874, Constable wrote “But I should paint my own places best—painting is but another word for feeling.”

The exhibition began in 1800 with Constable’s first paintings of the lush farmlands of his boyhood home—the now-canonical “Constable Country” of Suffolk and Essex— and progresses through the artist’s career, presenting works grouped according to the locations he would come to immortalize—the Stour River valley, Hampstead Heath, the Salisbury plains, and Brighton beach—all seen through the lens of his close observations from nature.

At the heart of the exhibition were two vibrant full-scale studies for two of Constable’s most celebrated exhibition paintings:



The Hay Wain (1821)



and The Leaping Horse (1825).

Like the finished paintings, these sketches were painted on the grand scale of history paintings and measure over six-feet wide. They were recently cleaned, which enables us to see their original colors and tonalities for the first time in living memory. They are displayed side by side with one of the artist’s finished paintings,



Hampstead Heath: Branch Hill Pond,

and a spectacular selection of Constable’s small oil sketches. There are exquisite watercolors and drawings, which span from painstaking early works to the seemingly effortless later sketches that defined the now-canonical English landscape: the “Constable Country” of Suffolk and Essex, where the artist spent his childhood. In addition, there are views of Brighton, London, and Salisbury.

The oil sketches for The Hay Wain and The Leaping Horse at the center of this exhibition were first loaned to the V&A by Henry Vaughn, an important collector of Constable's work, and remained there until their bequest in 1900 made them a permanent part of the museum’s collection. The V&A’s collection of oil sketches and other works by Constable grew significantly in the later part of the nineteenth century with further extensive gifts from the artist’s daughter Isabel Constable and daughter-in-law Anna Constable. These donations made the entirety of Constable’s achievement, from rapid pencil drawings to oil sketches and finished paintings, accessible to the public for the first time and significantly enriched our understanding of the artist.

John Constable: Oil Sketches from the Victoria and Albert Museum
was accompanied by a fully illustrated catalogue published by V&A Publishing.

The exhibition was organized by the Victoria and Albert Museum, London.

Finished paintings:



The Hay Wain (1821)



The Leaping Horse (1825).


Outstanding review, more images including:



John Constable. The Valley of the Stour with Dedham in the Distance, ca. 1805–9. Oil on paper, later lined onto canvas, 19 1/4 x 23 1/2 in. Victoria and Albert Museum, London, 321-1888. © Victoria and Albert Museum / V&A images



John Constable. Salisbury Cathedral from the South-west, ca. 1820. Oil on canvas, later lined, 9 7/8 x 11 7/8 in. Victoria and Albert Museum, London, 319-1888. © Victoria and Albert Museum / V&A images



John Constable. Brighton Beach, with Fishing Boat and Crew, 1824. Oil on paper, 24 1/2 x 30 in. Victoria and Albert Museum, London, 782-1888. © Victoria and Albert Museum / V&A images

Comments

Popular posts from this blog

(Sức khỏe mỗi ngày) Top 5 loại hoa quả giúp phát triển trí não cho trẻ, cha mẹ nên nhớ

Cam Cam là loại trái cây chứa nhiều vitamin C nhất cùng với hàm lượng vitamin A, B1, khoáng chất tốt cho trí não. Mỗi ngày uống một cốc nước cam ép hoặc 1 quả cam sẽ giú cơ thể minh mẫn, tăng cường sức đề kháng để giảm căng thẳng và mệt mỏi, ăn trực tiếp rất tốt bởi trong xác cam chứa nhiều chất xơ tốt cho hệ tiêu hóa. Chuối Quả chuối quen thuộc và bổ dưỡng đối với tất cả chúng ta. Các nhà khoa học đã chỉ ra chuối có chứa nhiều serotonin có khả năng truyền tín hiệu nhanh đến não giúp phản ứng kịp thời và nhanh nhậy trước mọi tình huống. Trong quả chuối chứa vitamin C, E,… giúp não bộ sản sinh ra các chất điều hòa làm điều hòa giấc ngủ sâu và ngon hơn. Mỗi ngày bạn chỉ nên ăn 1 quả là đủ cho não bộ và cơ thể, nhưng ăn quá nhiều dễ bị tiêu chảy không tốt cho sức khỏe. Ảnh minh họa Táo Táo là trái cây của sức khỏe không chỉ tốt cho tim mạch, đường ruột,… nó còn đáp ứng được nhu cầu dinh dưỡng cần thiết cho não bộ. Với hàm lượng chất chống oxy hóa cao giúp tăng acetycholine chất ...

Degas/Cassatt at the National Gallery of Art

Mary Cassatt , Little Girl in a Blue Armchair , 1878 oil on canvas National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon Edgar Degas's (1834–1917) influence on fellow impressionist Mary Cassatt (1844–1926) is widely known, but her role in shaping his work and introducing him to American audiences is fully examined for the first time in Degas/Cassatt . On view at the National Gallery of Art, Washington—the sole venue worldwide—from May 11 through October 5, 2014, the exhibition includes some 70 works in a variety of media. Groundbreaking technical analysis is presented by conservators and scientists who examined key works by both artists. "Despite differences of gender and nationality, Degas and Cassatt forged a deep friendship founded on respect and admiration, and we are delighted to share the results of this relationship with our visitors. The Gallery is particularly well suited to the exploration of this subject because of the exceptional ...

Visions and Nightmares: Four Centuries of Spanish Drawings

All works: The Morgan Library & Museum, New York All works, unless noted, photography: Graham S. Haber Visions and Nightmares: Four Centuries of Spanish Drawings at the Morgan Library & Museum January 17–May 11, 2014 explores the shifting roles and attitudes toward the art of drawing in Spain, as well as the impact of the Catholic Church and the nightmare of the Inquisition on Spanish artists and their work. It is the first exhibition of Spanish drawings ever to be held at the Morgan Library & Museum, whose holdings in this area are relatively small but strong. The exhibition features more than twenty drawings spanning the sixteenth through the nineteenth centuries. Works by well-known artists such as José de Ribera, Bartolomé Esteban Murillo, and Francisco Goya are presented alongside sheets by equally talented but less familiar artists, including Vicente Carducho, Alonso Cano, and Eugenio Lucas. Complementing the drawings is a display of contemporary Spanish letters and...