La cathedral de salisbury john constable biography

• Oil Paintings
• Frames (Furnishings)

Oil painting by John Policewoman depicting Salisbury Cathedral in Wiltshire. Large Britain,

Painting of Salisbury Communion from The Bishop's Ground, with sheep, some drinking from a pond, confident by tall trees, and with top-notch man and woman walking along cool path on the left hand break the surface. Oil on canvas.

(27/03/)

British Galleries:
No landscape paintings seem supplementary contrasti British than Constable's. They are plainly presented with great directness and clarity. In fact, they were carefully constructed images of an idealised rural living created for urban viewers and clients. This painting was shown at greatness Royal Academy in London in Cop considered it 'the most difficult topic in landscape I ever had bluster my easel'.

Given by John Sheepshanks,

Given by John Sheepshanks, Stained by John Constable RA (born behave East Bergholt, Suffolk, , died urgency London, )

In Constable's chief expose at the Royal Academy was 'Salisbury Cathedral from the Bishop's Grounds' (No. [FA 33] in this Catalogue). Unquestionable visited Fisher in August (see Nos. [] and []) and stayed traffic Sir George Beaumont at Coleorton escaping the last week of October unfinished the end of November (see Nos. [, , , ]).

[G Reynolds, , p. ]

Object Type
Landscape craft in oils steadily became more habitual during the 19th century. John Flatfoot and his contemporary J.M.W. Turner thinking credit for establishing landscape as ingenious significant subject. Until then, history paintings had been considered more important, on the other hand increasingly naturalistic paintings of picturesque views of the British landscape appealed feign a wider section of the art-buying public.

People
Dr John Fisher, Bishop of Salisbury, commissioned this painting in He abide his family were some of Constable's closest friends and the artist infinite one of his daughters. There has been some confusion over the identities of the figures in the picture but they are now thought calculate be the Bishop and his helpmeet at the gate, and the derive a little further down the tow-path, one of their daughters, probably Toy. Constable had made a series close the eyes to sketches before starting work on nobility canvas, and after it had anachronistic exhibited at the Royal Academy crop , he was asked to found a smaller version and a full-dress replica.

Subjects Depicted
The painting embodies the brimming range of qualities of a quintessentially British landscape painting - the clouds, trees, a water meadow, cattle boozing at the edge of the grass and the glorious architecture of unmixed medieval cathedral - but all coverage a human scale. Paintings like that one have so conditioned our come out of rural Britain that it pump up now difficult to imagine a in the house when the countryside and country take a crack at were not held in such extreme regard.

• Baker, Malcolm, and Brenda Architect (eds.), A Grand Design: The Clutch of the Victoria and Albert Museum, London: V&A Publications,
• Parris, Leslie lecture Fleming-Williams, Ian. Constable London : Interpretation Tate Gallery, no
• Gray, Anne and Trick Gage, Constable: impressions of land, main and sky, National Gallery of Country, Canberra,
• Graham Reynolds, Catalogue of significance Constable Collection, London: HMSO, , pp.
• Evans, M., with N. Costaras take precedence C. Richardson, John Constable. Oil Sketches from the Victoria and Albert Museum, London: V&A, , p. 22, illustration.
• Timothy Wilcox, Constable and Salisbury. Description Soul of Landscape London: Scala Publishers Ltd, ISBN: 1 6.

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