John Constable at the National Gallery

John Constable was an English landscape painter in the Romantic tradition. For some, the archetypal painter of the English landscape. His masterpiece “The Hay Wain” was recently targeted by Just Stop Oil.  

This blog post is about a few paintings of Constable at the National Gallery in London.

For me, Constable is important on a personal level and because he’s v. closely connected to one of my absolute favorites, Turner.

Inspired by Thomas Gainsborough, he studied at the Royal Academy in London. Constable once wrote, “I should paint my own places best.” Throughout his career, he developed a deeply personal vision of the countryside of his childhood home of Suffolk. I do love that real sense of nostalgia present in much of Constable’s works. 

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Cenotaph to the Memory of Sir Joshua Reynolds

Sensational painting, and so beautiful.

A monument to the English painter Sir Joshua Reynolds.

This painting captures you, it is beautiful and yet mournful and solitary. An homage to a departed spirit.

The beautiful autumnal trees climbing up the painting, the soft warmth in the hues of the setting sun, the chilly barren Leicestershire grounds, the busts of Michelangelo and Raphael.

In front of the monument, a respectful and elegant stag turns to regard the viewer.

The faint “REYNOLDS” letters legible on the epitaph. 

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The Hay Wain

Absolutely huge, and breathtaking. It’s also quite messy, a bit blotchy.

I think, in “The Hay Wain”, Constable painted happiness, or how life is meant to be.

The fluffy summery cumulus clouds. His skies are quite special. In the background fields, Constable painted labourers cutting hay.

The horse-drawn wagon (with 2 people on board relaxing, and 1 chap playing with a local dog) is shown crossing a charming ford. This is the River Stour in Constable’s native Suffolk. 

There are some wonderful details which fill you with joy — e.g.:

 

A chap heading towards a small boat through grass on the banks, 

a few sweet ducks, and a v. charming dog with his tongue out. 

Looks like one of the boys is waving and playing with the dog.

The horse-drawn wagon reminds me of a quote from a letter he wrote to one of his friends: 

“I associate my “careless boyhood” to all that lies on the banks of the Stour”.

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Stratford Mill

Love it. 

Once again, I find the the scientific exactness & the grace of his clouds incredible. At the background, we can see the grasslands covered by circles of illumination and sunlight and the rest covered in the cloudy darkness. The warmth of the painting seems to be the central figures at the fore.

This is another River Stour painting. The Stratford Mill can be seen on the far left — as an island in the river. It was used to make paper.

This time a group of boys are fishing — and they’re being watched by a young girl in a red skirt. 

A cautious meandering river which delicately reflects the trees and surrounding 

on its surface. The boys all wearing caps and enjoying the pace of life.

I love this sweetness of the children playing and fishing.

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The Cornfield

Wonderful.

Amazing clouds, they seem to illuminate the painting from the darkness of the trees and vegetation.

A little boy drinks from a stream ... while a sheepdog looks on, as it guides the flock through a lane sheltered by trees.

Harvesters can be seen busy in the cornfield beyond. 

Boy drinks, with a few sheep next to him. Took his hat off.

Harvesters, and the outlines of some buildings afar.

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Salisbury Cathedral and Leadenhall from the River Avon

I loved this painting — technically, it’s a “sketch”. 

It’s very engaging and vivid. It feels modern with its post-impressionistic heaviness and blotches.

It shows a view towards Salisbury Cathedral across the River Avon.

I love the messy thickness of the pigment applied which

juxtaposes differing colors and textures (e.g. tree branches).

Salisbury Cathedral today (from BBC).