Late Constable Exhibition Review
Our take on the RA's new Late Constable exhibition...
By
Adam Wells
November 28, 2021
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
Opening on 30th October, the Late Constable exhibition stands not only as the Royal Academy’s first major retrospective of John Constable’s work, but also the first exhibition to focus on the latter years of his career, spanning from 1825 up to the artist’s death in 1837. As is made clear in the exhibition, a large number of these paintings - particularly the more major works on display - were painted after the death of his wife, Maria Bricknell, in 1828. This sense of loss is palpable through many of the paintings displayed here, perhaps most melancholically in the 1833 piece Netley Abbey by Moonlight. The piece portrays a location visited by the couple on their honeymoon, presented here with the evocative addition of a grieving figure by a gravestone.
A notable development in Constable’s later works is that they were produced in his Fitzrovia studio rather than being painted on the spot, with the absence of visual stimulus perhaps informing his shift to expressionism. Rather than inspiring a distancing from nature, however, a key motif within the exhibition is the visual diminishing of man-made structures in favour of the natural world. Some of the earlier works on display include a pair of small cloud studies, foreshadowing Constable’s later preoccupation with weather phenomena, particularly rainbows. While sometimes muted, rainbows feature prominently in many of Constable’s later landscapes, most notably in Old Sarum (1834), to which an additional strip of canvas was added later to include a rainbow.
The exhibition also offers a unique look into Constable’s artistic process in its presentation of The Leaping Horse (1825) alongside its full-sized preliminary sketch. Notably, this sketch is unaltered, and still contains a tree which Constable later painted out of the landscape. Another major piece in the exhibition is Chain Pier, Brighton (c. 1826-7). While the pier was only built the previous year and gives the painting its title, the structure itself is relegated to the background of the landscape, the foreground of which instead focuses on a traditional fishing scene. The apparent diminishing of modernity in favour of the rural landscape serves as one of the key themes throughout this exhibition.
A majority of the paintings in the exhibition focus on the natural world, with man-made structures serving only as the backdrop, even when the paintings are named after them. Given prominence instead are animals, gnarled trees, and people engaged in various pastoral activities. Conversely, on the occasion that man-made structures are presented in the foreground, they are often crumbling, and overgrown with foliage, as in Hadleigh Castle (1829), further emphasising the natural world over the modern.
That Constable considered Salisbury Cathedral from the Meadows (c. 1829) to be one of his most important works is also notable, given that it stands as one of the few titles that acknowledges the imagery of the natural landscape being given precedence over the building which acts as the ostensible subject of the painting.
So, what can we take from this emerging theme? Does Constable’s later work represent a subconscious desire to escape from the confines of the modern world into a pastoral nostalgia following the death of his wife, with the framing of the natural world living on while man-made structures crumble into melancholy? Regardless, the subject-matter of these landscapes, particularly within the context of them being produced in-studio rather than on-location, shows a preoccupation with the interplay between the natural and man-made worlds in Constable’s late work, as showcased in this exhibition.
Portraying these late-period works in a single exhibition gives the impression of the painter at the height of his talents, still exploring the possibilities of the medium, and pushing against the artistic boundaries of his own work to portray something new. Regardless of these formal challenges or the personal circumstances which may have inspired them, however, the landscapes are just as breathtaking as Constable’s earlier vistas, and well-worth a visit for any London-based art enthusiast.
Late Constable is running at the Royal Academy from 30th October 2021 to 13th February 2022
