Part One
His point of view and the one of his contemporaries on his art
|
|
|
Malvern Hall, 1809, Oil on canvas,
Tate Gallery, London |
Study of clouds, 1822, Oil on canvas,
Tate Gallery, London |
|
|
|
Brighton Beach with Colliers, 1824, Oil on canvas,
Victoria and Albert Museum, London |
Parham mill, 1826, Oil on canvas,
Yale Center for British Art, New Haven, USA |
|
At this time, the artists were taught to paint only using the work of painters from the past. |
Accademic pov |
Constable |
Contable was one of the first painters to go outdoor when he had to paint a landscape. |
|
The religious, historical and mythological subjects and portraits were considered as the most noble subjects. |
Accademic pov |
|
Constable |
But Constable prefered painting landscapes, which were before only used as backgrounds. |
|
Constable |
He was fully conscious he wouldn't have the success he could have by painting imposing subjects. |
|
For Turner the "World" and its glory, for Constable the "countryside trails", where painting rarely meet notoriety. |
Turner |
|
Constable |
Using a metaphore, Constable told that when he painted, he imagined himself hammering nails |
Hammering nails. |
|
Constable |
Constable considers painting as a science |
|
Constable |
By the way, he didn't consider his painting as all similar. |
|
Not everyone thought his paintings were boring. |
Accademic pov |