By Graham Reynolds
John Constable (11 June 1776 – 31 March 1837) was once an English Romantic painter. Born in Suffolk, he's recognized mostly for his panorama work of Dedham Vale, the world surrounding his home—now often called "Constable Country"—which he invested with an depth of love. "I should still paint my very own areas best", he wrote to his pal John Fisher in 1821, "painting is yet one other note for feeling".
In Constable’s time England used to be divided into thirty-nine counties. Constable set foot in precisely over half them; he by no means crossed the borders into Wales or Scotland, nonetheless much less did he shuttle abroad, even if his images have been making a furor in Paris in 1824. The scenes that input considerably into his portray are drawn from an excellent extra constrained region: the six counties of Suffolk, Essex, Middlesex, Wiltshire, Dorset, and Sussex. Geographically, “Constable’s England” is a seriously restricted idea. In his focus on a small variety of locations studied again and again Constable offers a pointy distinction together with his nice modern Turner, who took not just England, Scotland, and Wales but additionally the complete of obtainable Europe as his province.
"When plans for the competition Britain salutes long island 1983 have been below dialogue, it appeared acceptable that one of many occasions will be an exhibition on the Metropolitan Museum of artwork dedicated to “Constable’s England.” this is often certainly the 1st significant exhibition of the work of John Constable ever to be proven within the usa. we're the extra lucky, for that reason, in having been capable of entrust the shaping of the exhibition and the writing of this catalogue to Graham Reynolds, the best professional on Constable. previously Keeper of work, Prints
and Drawings on the Victoria and Albert Museum, Mr. Reynolds, as well as his different tasks, had cost of the museum’s nice Constable assortment given virtually in its entirety by means of Isabel Constable, the artist’s daughter; his catalogue of that assortment, first released in i960, is crucial unmarried contribution to our wisdom of the artist’s paintings. Mr. Reynolds can also be the writer of a superb common quantity, “Constable: The ordinary Painter”, and has lately ready for the Paul Mellon Centre for reports in British artwork one of many volumes of a approaching catalogue raisonné of Constable’s work."
Philippe de Montebello
The Metropolitan Museum of artwork
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Additional resources for Constable's England
The painter was indebted to the Fauvists, Van Gogh, Gauguin and Matisse, whose works he saw at Bernheim’s, for his encounter with absolute colour. To Cézanne and the Cubists he owed the geometric framework of his paintings between 1911 and 1914 and the elements of his plastic grammar. But his individuality resisted all theoretic limits. “Let them eat their square pears on their triangular tables! 7” he cried vehemently, speaking of the Cubists. A true creator, Chagall borrowed from Cubism only that which served his personal vision.
Qxp 5:45 PM 20/06/2007 Page 58 44. Lovers in Grey (1916), Oil on cardboard, 69 x 49 cm, Collection Ida Chagall, Paris. qxp 5:45 PM 20/06/2007 Page 59 3:02 PM Page 59 45. Bella with a White Collar (1917), Oil on canvas, 149 x 72 cm, Collection of the artist’s family, France. qxp 5:45 PM 20/06/2007 Page 60 46. Double Portrait with a Wineglass (1917), Oil on canvas, 233 x 136 cm, Musée national d’art moderne, Centre Georges-Pompidou, Paris. 47. 5 cm, Russian Museum, St Petersburg. qxp 5:45 PM 20/06/2007 Page 62 48.
The artist not only looked at paintings but got to know people. Talented people were drawn to him, sensing in him a true colleague; thus he became friends with Guillaume Apollinaire, Max Jacob and Blaise Cendrars. Apollinaire was the first to mention Chagall’s name in print, in 1911, when the artist exhibited at the Salon des Indépendants. Apollinaire’s sharpedged verses, often blending into type-set hieroglyphic drawings (calligrams), were for the artist a school of clarity and creative courage, a lesson in the daring logic of twentieth-century thought.
Constable's England by Graham Reynolds