‘Shoreham Bay, Evening Sunset’ – John Constable, 1828 – WikiArt . There is a hidden ecstasy in your being; Only you have — to access it — to ignore The clamour of your endless thoughts,…

A cicada shell; It sang itself Utterly away. Bashō (1644-1694) Painting by John Constable: The Cenotaph (1836)

Listing for a ROLL OF CANVAS or PREMIUM PAPER You'll find a STRETCHED CANVAS for this Painting in our Store, or ask for a CUSTOM ORDER and/or ASSISTANCE Museum Quality Reproduction Painting: (1821) The Hay Wain Artist: John Constable (1776– 1837) was a English Romantic painter. MASTERPIECE WORKS OF ART REPRODUCED TO MUSEUM QUALITY PAINTINGS ARE PRINTED ON HEAVYWEIGHT PROFESSIONAL CANVAS AND/OR SATIN PAPER USING "GICLEE" TECHNIQUE ALL PAINTINGS HAVE A WHITE CANVAS AND/OR MATTE PAPER BORDER OF 1.75" AROUND THE IMAGE DIFFERENT SIZES AVAILABLE - CLICK ON SIZE TAB TO MAKE YOUR SELECTION - (ABOVE QUANTITY TAB) Roll of Canvas - (410g/m2, heavyweight bright white acid-free cotton) Roll of Satin Premium Paper - (190g/m2, print quality 1200 dpi) Almost any size is available, if you have another size in mind, contact us, and we'll give you the details. DETAILS Printed with vivera pigmented inks, designed to create vibrant color images that resist fading. Designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. GICLEE ART This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are "sprayed" onto high-quality surface. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. SHIPPING - TRACKING NUMBER WILL BE SUPPLIED - SHIPPED IN A STRONG CARDBOARD TUBE TO PROTECT THE CONTENTS FROM DAMAGE - FULLY INSURED USA - Expedited Parcel FREE SHIPPING (Any Size) - 2 - 10 Business Days  Canada - Expedited Parcel FREE SHIPPING (Any Size) - 2 - 10 Business Days  Outside USA & Canada $24.99 (Any Size) - 7 - 15 Business Days  100% SATISFACTION GUARANTEE - MONEY BACK GUARANTEE

Quasi tutti gli artisti e progettisti prendono appunti, prima di lavorare sull'opera vera e propria. Naturalmente si tratta di appunti visivi...

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Philip James de Loutherbourg (1740 – 1812) – An Avalanche in the Alps – 1803 – óleo sobre tela – 109,9 x 160 cm A Paisagem na Arte: 1690-1998 - Artistas Britânicos da Coleção da Tate na Pinacoteca de São Paulo George Stubbs (1724 – 1806) - Otho, with John Larkin up – 1768 – óleo sobre tela – 101,3 x 127 cm A chegada desta importante e especial exposição internacional celebra a parceria entre Tate e Pinacoteca, no ano em que a Pinacoteca comemora 110 anos, sendo o museu de arte mais antigo de São Paulo. Com curadoria de Richard Humphreys, a exposição traça o notável desenvolvimento de uma das maiores contribuições da Grã-Bretanha para a arte europeia – a pintura de paisagem – a partir de um recorte sem paralelos de arte britânica da Tate. São mais de 100 obras de grandes artistas topográficos e clássicos do século XVIII, dos românticos, pré-rafaelitas e dos impressionistas do século XIX até os pioneiros modernistas do século XX e contemporâneos das últimas décadas - uma visão fascinante do desenvolvimento histórico e cultural da Grã-Bretanha ao longo de quase três séculos. Entre os destaques estão obras de William Turner (1775-1851), John Constable (1776-1837), Ben Nicholson (1894-1982) e Richard Long (1945). John Sell Cotman (1782 – 1842) – Norwich Market-Place – c. 1809 – aquarela e grafite sobre papel – 40,6 x 64,8 cm A exposição está dividida em nove partes: Descobrindo a Grã-Bretanha Nesta sessão, será possível observar o crescimento do interesse pela paisagem natural da Grã-Bretanha durante o século XVIII, em um momento em que o fascínio e o orgulho pelo país natal andavam de mãos dadas com o entusiasmo pelas descobertas de exploradores, naturalistas, comerciantes e imperialistas à medida que o Império Britânico se expandia pelo mundo. As Ilhas Britânicas eram “descobertas” da mesma maneira que as distantes terras exóticas. James Seymour (1702 – 1752) - A Kill at Ashdown Park – 1743 – óleo sobre tela – 180,3 x 238,8 cm Sonhos pastorais O termo “pastoral” define uma gama complexa de formas artísticas e literárias que surgiram a partir do período clássico. Duas obras de Thomas Gainsborough (1727-1788) poderão ser vistas nesta sessão: em uma delas, um cavalheiro toca um instrumento em um mundo ideal, na outra, um paraíso completamente imaginário de pastores de vacas com seus satisfeitos rebanhos. Thomas Gainsborough (1727 – 1788) – The Reverend John Chafy Playing the Violoncello in a Landscape - 1750-2 - oléo sobre tela – 74,9 x 60,9 cm A visão clássica Nesta sessão, será possível conferir obra de Joseph Mallord William Turner (1775-1851), talvez o maior paisagista britânico de todos os tempos, que também aplicava princípios clássicos tanto em cenas italianas quanto em panoramas nativos. Nesta época, as paisagens clássicas eram tão celebradas pela aristocracia britânica, que muitas propriedades foram reformadas com o objetivo de incorporar nelas as suas características visuais e arquitetônicas. Joseph Mallord William Turner (1775-1851), “Dido and Aeneas” - 1814 - óleo sobre tela – 146 x 237,2 cm Romantismo O romantismo compreende um vasto leque de formas culturais que surgiram em toda a Europa entre os anos 1770 e 1830. As grandes mudanças históricas do período, tais como a Revolução Francesa, a Revolução Industrial e a ascensão do nacionalismo, constituem o contexto turbulento em que o romantismo se desenvolveu. As artes topográfica, clássica e pastoral influenciaram a pintura romântica inglesa, mas no começo do século XIX ela encontrou uma forma própria de expressão. Johann Zoffany (1733 – 1810) – Three Daughters of John, 3rd Earl of Bute – c. 1763-4 – óleo sobre tela – 101,2 x 126,5 cm Fidelidade à natureza As pinturas desta seção têm relação com a ideia de fidelidade à natureza e representam uma rejeição de muitos aspectos do romantismo. A prática de fazer desenhos de observação da natureza ao ar livre popularizou-se entre os artistas profissionais e amadores no final do século XVIII e foi um dos pilares daquilo que se tornou conhecido como “pitoresco”. John Crome (1768 – 1821) – Yarmouth Harbour, Evening – c. 1817 – óleo sobre tela – 40,6 x 66 cm Impressionismo O impressionismo foi um movimento radical da arte francesa nas décadas de 1860 e 1870. A arte experimental francesa do século XIX nasceu de um debate sobre o valor do esboço em relação à pintura terminada e acerca do poder das instituições acadêmicas sobre a formação artística e as exposições de arte. Desde o começo daquele século, muitos artistas franceses haviam admirado a pintura de paisagem britânica em razão de seu frescor antiacadêmico. Os vínculos entre a arte britânica e a francesa eram variados e complexos, e artistas de ambos os países cruzavam com frequência o Canal da Mancha. James Abbott McNeill Whistler (1834 – 1903) - Nocturne: Black and Gold, The Fire Wheel – 1875 – óleo sobre tela – 54,3 x 76,2 cm Um novo romantismo Muitos artistas neo-românticos foram empregados como artistas oficiais de guerra no front interno durante a Segunda Guerra Mundial. Em suas pinturas de paisagem, figurando edifícios antigos e cidades arruinadas, eles criaram imagens que refletiam as emoções complexas que caracterizaram o período de guerra, como o terror, a euforia, a nostalgia e o escapismo. Graham Sutherland OM (1903 – 1980) – artista oficial de Guerra – Devastation, 1941: An East End Street – 1941 – giz de cera, guache, nanquim, grafite e aquarela sobre papel, sobre cartão – 64,8 x 110,4 cm Redescobrindo a Grã-Bretanha No começo do século XX a pintura britânica englobava um leque diversificado de abordagens. O impressionismo, outrora ridicularizado, tornara-se um estilo estabelecido e dono de um mercado forte, enquanto outros artistas continuavam pintando nos estilos pré-rafaelita, simbolista e social-realista. Nesta sessão, será possível conferir John Dickson Innes (1887- 1914) e seu o desejo de fazer experimentações mais radicais de forma e cor em suas paisagens. Christopher Wood (1901 – 1930) – Boat in Harbour, Brittany – 1929 – óleo sobre cartão – 79,4 x 108,6 cm Novas paisagens, velhas paisagens O neoromantismo foi sucedido por uma retomada da arte realista no começo da década de 1950. Já em 1960, no entanto, os artistas britânicos haviam começado a responder à arte e à cultura norte-americanas. A arte conceitual britânica das décadas de 1960 e 1970 também se interessava pela “noção de lugar”. Richard Long (1945) é um dos artistas desta sessão, criando uma arte paisagística híbrida e poética a partir da associação de mapas, textos e fotografias. Phillip Wilson Steer (1860 – 1942) – The Bridge – 1887-8 – óleo sobre tela – 49,5 x 65,5 cm Entre os artistas da exposição estão: Século 18: Richard Wilson | George Stubbs | Thomas Gainsborough | Joseph Wright | Philip James de Loutherbourg | Francis Towne | John Mallord William Turner | Thomas Girtin Século 19: Joseph Mallord William Turner | John Constable | John Sell Cotmann | Richard Parkes Bonington | John Martin | Samuel Palmer | Edwin Landseer | William Dyce | David Roberts | John Everett Millais | William Holman Hunt | John Brett | James Abbott McNeill Whistler | John Singer Sargent Século 20: Walter Sickert | Stanley Spencer | Augustus John | Paul Nash | David Bomberg | CRW Nevinson | Ben Nicholson | Christopher Wood | Graham Sutherland | John Piper | Edward Burra | Eric Ravilious | LS Lowry | Peter Lanyon | Frank Auerbach | David Inshaw John Constable (1776 – 1837) - Chain Pier, Brighton – 1826-7 – óleo sobre tela – 127 x 182,9 cm Texto: Pinacoteca do Estado de São Paulo Até 18 de outubro de 2015 Pinacoteca do Estado de São Paulo - Praça da Luz, 02 - São Paulo, SP, Brasil Informações: (11) 3324 1000 John Martin (1789 – 1854) – The Destruction of Pompeii and Herculaneum – 1823 – óleo sobre tela – 161,6 x 255 cm

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A painting by John Constable which was looted by the Nazis is to be auctioned after the Tate lost its claim to the work.

After playing Karine Polwart's corncrake song in yesterday's post, I was reminded this: In her essay "Crex-Crex," Scottish poet and essayist Kathleen Jamie reflects on a print of Constable's The Haywain hanging in her B&B on the island of Coll....

「総目次」へはここをクリック！ 　「１０分でわかる近代絵画史」はここをクリック！　　今回はジョン・コンスタブル（John Constable １７７６−１８３７）の２回目です。　１回目はこちらです。　３分でわかるジョン・コンスタブル　１８−１９世紀にイギリスで活

Salisbury Cathedral from the Bishop's Grounds, c.1825 by Constable. Top-Quality Giclée Canvas Print 5088-COJ by TopArtPrint. Customization Options and WorldWide Shipping!

XCF257194 The Hay Wain, 1821 (oil on canvas) by Constable, John (1776-1837); 130.2x185.4 cm; National Gallery, London, UK; English, out of copyright. Our beautiful Wall Art and Photo Gifts include Framed Prints, Photo Prints, Poster Prints, Canvas Prints, Jigsaw Puzzles, Metal Prints and so much more #MediaStorehouse

Oil on canvas; 25 x 30 cm. English painter, ranked with Turner as one of the greatest British landscape artists. Although he showed an early talent for art and began painting before he left school, his great originality matured slowly. He committed himself to a career as an artist only in 1799, when he joined the Royal Academy Schools, and it was not until 1829 that he was grudgingly made a full Academician, elected by a majority of one vote. During the 1820s he began to win recognition: The Hay Wain (National Gallery, London, 1821) won a gold medal at the Paris Salon of 1824 and Constable was admired by Delacroix and Bonington among others. His wife died in 1828 and the remaining years of his life were clouded by despondency. After spending some years working in the Picturesque tradition of landscape and the manner of Gainsborough. Constable developed his own original treatment from the attempt to render scenery more directly and realistically, carrying on but modifying in an individual way the tradition inherited from Ruisdael and the Dutch 17th-century landscape painters. Constable turned away from the pictorial conventions of 18th-century landscape painters, who, he said, were always 'running after pictures and seeking the truth at second hand'. Constable thought that 'No two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world', and in a way that was then new he represented in paint the atmospheric effects of changing light in the open air, the movement of clouds across the sky, and his excited delight at these phenomena, stemming from a profound love of the country: 'The sound of water escaping from mill dams, willows, old rotten planks, slimy posts and brickwork. I love such things. These scenes made me a painter.' He never went abroad, and his finest works are of the places he knew and loved best, particularly Suffolk and Hampstead, where he lived from 1821. To render the shifting flicker of light and weather he abandoned fine traditional finish, catching the sunlight in blobs of pure white or yellow, and the drama of storms with a rapid brush. He worked extensively in the open air, drawing and sketching in oils, but his finished pictures were produced in the studio. For his most ambitious works he followed the unusual technical procedure of making a full-size oil sketch, and in the 20th century there has been a tendency to praise these even more highly than the finished works because of their freedom and freshness of brushwork. In England Constable had no real successor. In France, however, he was a major influence on Romantic painters such as Delacroix, on the members of the Barbizon School, and ultimately on the Impressionists.

Painted quickly to develop ideas before the final work, this is one of 16 oil sketches by John Constable RA in our collection. Here’s an introduction to Flatford Mill from a Lock on the Stour.

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Hi Everyone, Some of you probably thought that you weren’t going to hear from me. And you’re right. This isn’t me. Who is it? Not sure, but it can’t be me because I’ve only finished the first day of the tour and I’m already transformed– completely. Seriously, I could come home right now, completely sated […]

A View of Osmington Bay, Dorset, looking towards Portland Island by John Constable. King & McGaw has an extensive collection of art prints by established and emerging artists, which are all framed by hand in the UK.

A view of Salisbury Cathedral by John Constable (1776 - 1837) Oil on Panel (Private Collection)

Our dynamic Paintings Conservation interns, Arabella and Morgan have been lucky enough to work on some of our Constable oil sketches this week for the upcoming Constable: Making of a Master exhibition. We’ve posted recently on our discovery...

MOVING CLOUDS IN BOUNDLESS SKIES, LEAFY TREES AND CRUMBLING WATER MILLS JOHN CONSTABLE 1/3 – That native of East Bergholt (Suffolk), http://eastbergholt-bells.org.uk/ son of a wealthy cereal merchant,

John Constable, English Old Masters Fine Art Print : Stratford Mill, Classical Art Iconic Landscape Painting 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". His most famous paintings include Wivenhoe Park of 1816, 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 financially 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. _____________________________________________________________________ Available as a high quality giclee print in lots of sizes. _____________________________________________________________________ Also available on heavyweight canvas pre-stretched on a 1.5 inch deep wooden frame, ready to hang The canvas prints are mirror printed on all 4 edges and do not require an additional frame. _____________________________________________________________________ small prints are shipped in stiffened envelopes larger prints are carefully rolled and shipped in a tube If ordering a combination of print sizes, smaller prints may be rolled with larger prints and shipped together for combined postage discounts. pre-stretched canvas shipped in boxes ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ See all of our prints and canvas panels: https://www.etsy.com/uk/shop/FabVintagePosters ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Watercolour, 'View over hilly country, with a stormy sky' by Constable.