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John Constable (June 11, 1776March 31, 1837) was a British Romantic artist. Born in Suffolk, he is known principally for his landscape paintings of the area surrounding his home - the area of Dedham Vale is now known as "Constable Country". 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 he 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.

Biography


John Constable was born in East Bergholt, a village on the River Stour in Suffolk, England, to Golding and Ann Constable. His father was a wealthy corn merchant, owner of Flatford Mill and, later, Dedham Mill, and the surrounding countryside was to become the subject of a large proportion of John's art. Although Constable was his parents' second son, his older brother was mentally handicapped and thus John was expected to succeed his father in business. He worked at the corn business after leaving school, but John's 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. He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain. This inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to John Thomas Smith, a professional artist. Smith advised him on painting, but he also urged Constable to enter his father's business rather than take up art professionally.

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Volume 21, number 2: Emerging Themes, Emerging Voices
Mills Mon, 30 Jul 2007 16:33:05 -0500

Volume 21, number 2: Considering the Copy
Moss Mon, 30 Jul 2007 16:33:05 -0500

Volume 21, number 2: Beyond English
LaFountain Mon, 30 Jul 2007 16:33:05 -0500

Volume 21, number 2: Collapsing Boundaries
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Volume 21, number 2: Objects, Contexts, and the Space Between
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Volume 21, number 2: Copley's Cargo
Roberts Mon, 30 Jul 2007 16:33:05 -0500
In 1765, John Singleton Copley sent his painting Henry Pelham (Boy with a Squirrel) from Boston to London in hopes of receiving feedback from the arbiters of academic aesthetics. Several months later, he received the welcome news that Sir Joshua Reynolds had called the painting "wonderfull." In virtually every scholarly narrative of early American art, Boy with a Squirrel derives its canonical significance from this famous transatlantic relay. But the most basic reality of that relay–the massive fact of the Atlantic Ocean standing between Copley and his interlocutors–has barely been registered in the scholarship.This essay interprets Boy with a Squirrel in terms of the difficulty and delicacy of its transatlantic transmission. I argue that Copley, as he attempted to create a painting that would have the necessary transitive qualities, drew from an array of familiar discourses of Atlantic exchange and transport. The painting's profile format evoked strategies of numismatic exchange. The precise representation of the flying squirrel tapped into well-established transatlantic natural history circuits. The spatial transformations of the composition echoed not only empiricist theories of sensory conveyance (especially the writings of George Berkeley), but also mirrored the workaday dynamics of the shipping and reassembly of transatlantic commodities. Copley, like many other colonial artists, worked in a global community governed by distance, difference, and delay. By attending to the vehicular context of Boy with a Squirrel, we can begin to understand his strategies for articulating–and navigating–that new global space.

 
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Artchive: John Constable - Excerpts from the article by Simon Wilson and a collection of images.

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