李淑卿 |
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In 1827, John Constable began work on the project that would occupy his attention until his death seven years later: the publication of a series of prints based on his paintings that would stand as a summary of his achievements. The painter collaborated closely with the engraver David Lucas to create prints that would convey Constable's didactic intention—to illustrate the "chiaroscuro of nature."
National Gallery of Art
Constable frequently depicted Salisbury Cathedral’s famous spire, which, at 404 feet, is the tallest in England. Piercing the air, the lofty steeple attracts attention to the atmosphere around it. One of Constable’s main interests was portraying the weather—a process he called "skying."
When the Gothic cathedral was finished in the 1300s, its grounds were walled or enclosed; this "Close" forms a lush, marshy park. The couple strolling through the Close’s avenue of elms may be John Fisher, the Archbishop of Salisbury, and his wife. Their nephew, an archdeacon and art patron, was Constable’s closest friend. This personal souvenir, kept by the artist, freshly observes the sunshine dappling the lawn. With long shadows falling from the west, the time is early evening. Constable executed this canvas on the spot, and its brown under-painted layer is still visible beneath the trees.
John Constable, "Salisbury Cathedral from Lower Marsh Close," 1820, oil on canvas, National Gallery of Art, Washington, Andrew W. Mellon Collection
#TateRecommends John Constable's 'Stoke-by-Nayland' ow.ly/Vnxdz
"Such an understated yet incredibly confident sketch. The white of the building and the woman’s dress pulls my gaze back and forth across the canvas, I think of country walks... which calms my mind (and pulse) immediately." Jon-Ross Le Haye, Tate Senior Designer
National Gallery of Art 新增了 2 張新相片。
“The White Horse” by John Constable (1776–1837) is a full-size oil sketch of one of the artist's first large-scale landscape paintings. Take a careful look at the work of art and the accompanying #XRay.
This x-radiograph of Constable’s painting was taken in 1984 before the painting was treated in the mid 1990s. After examination of the x-ray, Gallery conservators discovered something hidden beneath the surface. Below was Constable’s original painted sketch of “Dedham Vale from the Coombs.” Once completing the full sized sketch, Constable went on to paint a finished version. At a later date, an unknown restorer attempted to “finish” the sketch, possibly to increase its value. It was in this state when the painting entered the Gallery's collection in 1942. Can you spot any indications of both paintings on the x-ray?
At the time the x-radiograph was taken, the authenticity of the artwork as a Constable painting was in question. By finding a known Constable composition below the surface, conservators had evidence to prove that Constable had been involved in producing this canvas from the beginning. This discovery led to additional analysis, helping to better understand the paint layering structure. Conservation treatment began in the early 1990s to remove thick, resinous overpaint that obscured Constable’s original lively brushwork. #ArtAtoZ
X-radiograph of "The White Horse," John Constable, 1818-1819, oil on canvas, National Gallery of Art, Washington, Widener Collection, 1942.9.9
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Constable's painting 'The Haywain' is based on a site in Suffolk, near Flatford on the River Stour. The hay wain, a type of horse-drawn cart, stands in the water in the foreground. Today, the cottage and river path are still much as they were in Constable's time: http://bit.ly/1gx9UVL
National Gallery
Today, the cottage and river path are much as they were when John Constable painted 'The Hay Wain' in 1821: http://bit.ly/1IQNSZe
John Constable went to Osmington near Weymouth for his honeymoon in 1816, where he probably got the idea for this painting. 'Weymouth Bay: Bowleaze Cove and Jordon Hill' http://bit.ly/1DSVHah
John Constable's 'Weymouth Bay: Bowleaze Cove and Jordon Hill' depicts a view looking west, showing the small Jordan River flowing over the sands, and Jordan Hill and Furzy Cliff behind. In October 1816 Constable went to Osmington near Weymouth for his honeymoon; the idea for the painting probably dates from this period:http://bit.ly/23doAgl
Hanching Chung 分享了 Yale University 的相片。
這張照片夠我神遊的。耶魯大學的英國藝術在4~5前，出版一本維護該館建築物---著名的建築師L. Kahn的名作---計畫書，所以明年要停展一年.....下層畫作，應該是John Constable的作品.....
Yale University
The New Haven Symphony Orchestra presented a holiday concert in the Yale Center for British Art's Library Court.
British Museum
It's the #WinterSolstice in the northern hemisphere! Here's a pic of Constable’s Stonehenge http://ow.ly/G7VBc
Today is the #WinterSolstice in the northern hemisphere! This 1836 watercolour of Stonehenge is by John Constable. After visiting Stonehenge in 1820, Constable made a sketch that was eventually worked up into a large watercolour for his last exhibition at the Royal Academy of Arts. This watercolour represents a middle stage in the process – it is squared for transfer to a larger sheet.
The finished work (now at the Victoria and Albert Museum) was captioned: ‘The mysterious monument... standing remote on a bare and boundless heath, as much unconnected with the events of the past as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period’
Arts Council England
This lovely landscape by Constable has been given a new permanent home for the nation, at the Ashmolean Museum in Oxford - due to the work of the Acceptance in Lieu scheme. More info: http://bit.ly/1rx6PDp.
Image: Willy Lott’s House from the Stour (The Valley Farm) - John Constable, R.A.
參考翻譯
這懷疑是有道理的。我的英國繪畫史的第一人是Thomas Gainsborough (1727–1788)：那是1975年春大四時，在圖書館之Time-Life 系列大師專題之一。(我是學工程的，東海的西方藝術學習風氣不錯，所以可以直接進入Gainsborough，其實講英國繪畫的才知道他。在他生平的這時期，繪畫上我是以Johnson的博士之club 之Sir Joshua Reynolds (1723–1792) Principal Painter in Ordinary to the King等人為主。不過我自己覺得慶幸，先從Gainsborough 開始。)
所以你的這篇讓我想起我當時就決定去英國讀書，因此指點我去英國的是大三成功嶺受訓的一位臺大僑生。(我現在在寫幾個月之後出版的《珍重集：朋友‧僑生‧譯業》(臺北:華人戴明學院，2013) ，我想逼自己寫些英國13個月的一些回憶。由於我當時是在 John Constable (1776–1837)之鄉的世界，所以寫這位在繪畫史上或許更重要的畫家---這是為什麼 E. N. Gombrich討論他的作品之緣故，因為John Constable把風景等當”科學”來研究。)
所以你說的沒錯，我是有點牛頭不對馬嘴。不過反正貼就貼了，而我現在關心的是為什麼我留英時不寫日記，所有的細節都在我給親友的信中，而現在都不好意思開口跟他們要信。
寫這些或許別人有用或可一笑。
看過專書的畫家
http://en.wikipedia.org/wiki/List_of_British_painters
William Hogarth (1697–1764)
William Blake (1757–1827)
Dante Gabriel Rossetti (1828–1882)
Sir Edward Burne-Jones (1833–1898)
William Morris (1834–1896)
Paul Nash (1889–1946)
Ben Nicholson (1894–1982)
Francis Bacon (1909–1992)
David Hockney (born 1937)
National Gallery
John Constable was born today. He visited Osmington near Weymouth for his honeymoon, where he likely had the idea for this painting of the Jordan River flowing over the sands, and Jordan Hill and Furzy Cliff behind. The reddish brown of the priming shows through the blue sky and water, lending a warm glow to the landscape:http://bit.ly/1FKHFcK
Victoria and Albert Museum
‘Coast Scene at Brighton,’ is an oil painting by John Constable that perfectly demonstrates the inventiveness and vitality for which the artist is known.
Learn more about our collection of Constable’s work: https://fal.cn/3eDnf
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