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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.
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.
Attempts to match paintings with ideas and tries to establish
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.
John Constable is arguably the most accomplished painter of English skies and weather of all time. For Constable, the sky was the keynote, the standard of scale and the chief organ of sentiment in a landscape painting. But how far did he understand the workings of the forces of nature which created his favourite cumulus clouds, portrayed in so many of his skies over the landscapes of Hampstead Heath, Salisbury and Suffolk? And were the skies he painted scientifically accurate? In this lucid and accessible study, John Thornes provides a meteorological framework for reading the skies of landscape art, compares Constable's skies to those produced by other artists from the middle ages to the nineteenth century, analyses Constable's own meteorological understanding, and examines the development of his painted skies. In so doing he provides fresh evidence to identify the year of painting of some of Constable's previously undated cloud studies.
The Greek pandocheion, Arabic funduq, and Latin fundicum (fondaco) were ubiquitous in the Mediterranean sphere for nearly two millennia. These institutions were not only hostelries for traders and travelers, but also taverns, markets, warehouses, and sites for commercial taxation and regulation. In this highly original study, Professor Constable traces the complex evolution of this family of institutions from the pandocheion in Late Antiquity, to the appearance of the funduq throughout the Muslim Mediterranean following the rise of Islam. By the twelfth century, with the arrival of European merchants in Islamic markets, the funduq evolved into the fondaco. These merchant colonies facilitated trade and travel between Muslim and Christian regions. Before long, fondacos also appeared in southern European cities. This study of the diffusion of this institutional family demonstrates common economic interests and cross-cultural communications across the medieval Mediterranean world, and provides a striking contribution to our understanding of this region.
Francis Bacon is considered one of the most important painters of the 20th century. A major exhibition of his paintings at the Royal Academy of Arts in 2020 explores the role of animals in his work - not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle and the erotic lurks not far away: "Bullfighting is like boxing," Bacon once said. "A marvellous aperitif to sex." 0Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication - a significant addition to the literature on Bacon - expert authors discuss Bacon's approach to animals and identify his varied sources of inspiration, which included surrealist literature and the photographs of Eadweard Muybridge. They contend that, by depicting animals in states of vulnerability, anger and unease, Bacon sought to delve into the human condition.00Exhibition: Royal Academy of Arts, London, UK (22.01-12.04.2021).
Foreword by Alan Titchmarsh For more than 45 years Hugh Johnson has written Trad's Diary, delighting in recording his observations of his own garden, as well as many others, and of the wider natural world. Free to turn his attention to whatever is happening in that season, or simply something that piques his interest, his subjects are as diverse as the sounds of water, forest walks, the names of roses, the taste for shade he shares with Handel, the colours of autumn, the smell of rain, the private garden discovered within Beijing's Forbidden City or the first crocuses of spring. Month by month, Hugh shares with the reader through his easy, evocative writing an eclectic mix of thoughtful, topical and whimsical insights that will delight not only gardeners but anyone with an interest in nature in all its costumes.
Published to accompany an exhibition held at the Victoria and Albert Museum, London, September 20, 2014-January 11, 2015.