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A fresh and lively biography of the revolutionary landscape painter John Constable. John Constable, who captured the landscapes and skies of southern England in a way never before seen on canvas, is beloved but little-understood artist. His paintings reflect visions of landscape that shocked and perplexed his contemporaries: attentive to detail, spontaneous in gesture, brave in their use of color. His landscapes show that he had sharp local knowledge of the environment. His skyscapes show a clarity of expression rarely seen in other artist's work. The figures within show an understanding of the human tides of his time. And his late paintings of Salisbury Cathedral show a rare ability to transform silent, suppressed passion into paint. Constable was also an active and energetic correspondent. His letters and diaries reveal a man of opinion, passion, and discord. His letters also reveal the lives and circumstances of his extended family who serve to define the social and economic landscape against which he can be most clearly seen. These multifaceted reflections draw a sharp picture of the person, as well as the painter. James Hamilton's biography reveals a complex and troubled man. Hamilton's portrait explodes previous mythologies about this timeless artist and establishes him in his proper context as a giant of European art.
This study concentrates on the six foot canvases of the River Stour produced by Constable between 1819 and 1825 and examines the artist's development of this single thematic concept. Each work is shown beside its compositional sketch, illustrating his artistic process.
From the author of the Chanters of Tremaris series comes a contemporary time travel fantasy, grounded in the landscape of Australia Beginning and ending, always the same, always now. The game, the story, the riddle, hiding and seeking. Crow comes from this place; this place comes from Crow. And Crow has work for you. Sadie isn't thrilled when her mother drags her from the city to live in the country town of Boort. But soon she starts making connections--with the country, with the past, with two boys, Lachie and Walter, and, most surprisingly, with the ever-present crows. When Sadie is tumbled ba.
On John Constable as a proto-abstractionist of pastoral landscape One of Britain's greatest landscape painters, John Constable was brought up in Dedham Vale, the valley of the River Stour in Suffolk. The eldest son of a wealthy mill owner, he entered the Royal Academy Schools in 1800 at the age of 24, and thereafter committed himself to painting nature out of doors. His "six-footers," such as The Hay Wainand The Leaping Horse, were designed to promote landscape as a subject and to stand out in the Academy's Annual Exhibition. Despite this, he sold few paintings in his lifetime and was elected a Royal Academician late in his career. With texts by leading authorities on the artist, this handsome book looks at the freedom of Constable's late works and records his enormous contribution to the English landscape tradition. John Constable(1776-1837) is one of Britain's best-known artists, and is often considered one of the greatest landscape painters of all time. He was born near the River Stour in Suffolk, an area the artist depicted so frequently that it is referred to as "Constable country." Pastoral scenes were unfashionable at the time and Constable struggled to establish himself as a painter. He was finally elected a Royal Academician in 1829, and in 1832, he exhibited The Opening of Waterloo Bridge--an effort 13 years in the making--at the Summer Exhibition.
Accurate re-creations of 30 portraits and landscapes include Boat-Building near Flatford Mill;Malvern Hall, Warwickshire;The White Horse; The Haywain; and MarineParade and Chain Pier, Brighton."
Exploring the development, variety, and innovation of the landscape oil sketch, this book is generously illustrated with many masterpieces of 19th-century British landscape painting.
Each year between 1819 and 1825, John Constable (1776-1837) submitted a monumental canvas to the Royal Academy of Arts in London for display in the annual Exhibition. These so-called six-footers vividly captured the life of the River Stour in Suffolk, where Constable grew up and where he returned to paint each year. The Leaping Horse, the last of these, now a major work in the Academy's collection, is the subject of this fascinating new book. Humphreys explores Constable's often avant-garde working methods, as well as his struggle to gain full acceptance within the art establishment of the early nineteenth century. With reproductions of his full-scale preliminary sketches as well as brand new photography of the painting itself, this book is the ideal companion for art lovers who seek a deeper appreciation of Constable's iconic depictions of the English countryside. AUTHOR: Richard Humphreys is the author of Wyndham Lewis (2004), and editor of Tate's British Artists series. He was formerly Curator of Programme Research at Tate Britain, London. SELLING POINT: * An engaging examination of one of the Royal Academy's most important treasures, the painting described by Lucian Freud as 'the greatest painting in the world' 50 colour illustrations
When Mike Wakefield's business partner absconded with their printing firm's money, Mike and his wife Stephanie feared bankruptcy. Detective Inspector Sloan is at first tasked with what appears to be a cut-and-dry case of embezzlement, but that is before unsettling events - tyres slashed, bricks through windows - make it clear that someone is really gunning for him. However, Mike Wakefield was determined to finish a print job that had been in hand for a while in time for a launch party at the grand setting of Ornum House. All goes according to plan until one of Mike's employees was found dead . And he wasn't the only casualty. DI Sloan and DC Crosby have a tangled set of motives and some devious chicanery to unpick to discover a killer.
Ask the Fellows Who Cut the Hay is a vivid portrait of the rural past of Blaxhall, a remote Suffolk village, in the time before mechanization changed the entire nature of farming, the landscape and rural life for good. In the 1950s, George Ewart Evans sought out those who could recall the nineteenth-century customs, crafts, dialects, tools, smugglers' tales and rural beliefs which had endured from the time of Chaucer, and created this fascinating picture of a now vanished world.
The first comprehensive guide to Constable's lesser-known but significant works inspired by the bustling Regency resort of Brighton. There was more to John Constable's art than the great rural landscapes for which he is famous. This lavishly illustrated book focuses on a largely overlooked element in his life - his close and artistically rewarding relationship with the boisterous resort of Brighton during the years 1824-28. He went in search of healthy air for his ailing wife Maria and the peace to help him clear a backlog of commissions, and became accustomed to painting on the beach or up by the windmills that dotted the Sussex Downs. More than 100 small, vivid studies from these walks exist, most dashed off outside in all weathers, some that are almost abstract responses to storms or the light on the sea. This book assembles the most complete collection of these Brighton sketches ever published, some of them only recently discovered. Regency Brighton - what was then the largest and most fashionable resort in Europe - is also explored through maps and prints, tracing the routes Constable took through the developing town. His great contemporary, Turner, was also active there in the mid-1820s, and a range of contrasting views by both artists is featured here. AUTHOR: Shan Lancaster is a writer, editor and researcher. As a freelance journalist she has written for most national newspaper titles and as a researcher she has collaborated on numerous book developments, and television and film scripts, including the BBC Four television documentary Constable: A Country Rebel, first aired in 2014. Her research originally identified the exact location of Constable's lodgings at 9 Sober's Gardens, now 11 Sillwood Road, Brighton, and marked with a Blue Plaque. SELLING POINTS: * Features the most comprehensive selection of Constable's Brighton studies ever assembled, including works from private collections never published before * Contains an exquisite bonus selection of Turner's marine studies of Brighton from the same period, alongside authoritative texts on both artists * A beautifully illustrated book written to accompany a major exhibition, Constable and Brighton, at Brighton Museum and Art Gallery in 2017 150 colour