존 컨스터블 영국 예술가

John Constable (1776 년 6 월 11 일, 잉글랜드 서퍽의 East Bergholt, 1837 년 3 월 31 일 런던에서 사망)은 19 세기 초 영어 풍경화의 주요 인물입니다. 그는 영국 시골의 그림, 특히“Constable country”로 알려진 지역 인 Stour 강의 계곡을 대표하는 그림으로 가장 잘 알려져 있습니다.

시작

상당한 집과 작은 농장을 소유 한 부유 한 밀러와 상인의 아들 인 Constable은 작은 서퍽 마을에서 양육되었습니다. 어린 시절의 환경과 농촌 경제에 대한 이해는 나중에 그의 작품에서 두드러지게 나타났습니다. 그가 1821 년에 글을 쓸 때“나는 내 장소를 가장 잘 칠해야한다

나는 '부주의 한 어린 시절'을 Stour의 은행에있는 모든 것과 연관시킵니다.”

Constable은 아버지의 사업에 들어 가려고했지만 1795 년 유명한 감정가 조지 보 몬트 (George Beaumont) 경을 만나고 1796 년 에드먼턴 (Edmonton)에서 골동품 학자와 감정가들을 만나 예술을 추구하도록 영감을 받았습니다. 1799 년 2 월 그는 영향력있는 학자 인 Joseph Farington에게 자신을 알리고, 3 월에는 아버지의 지루한 승인을 받아 유명한 Royal Academy 학교에 입학했습니다. 당시 미술 아카데미는 역사 회화를 학생들에게 가장 적합한 주제로 강조했지만 Constable은 처음부터 풍경에 특별한 관심을 보였습니다.

In 1802 Constable refused the stability of a post as drawing master at a military academy so that he could instead dedicate himself to landscape painting and to studying nature directly in the English countryside. That same year he exhibited his work at the Royal Academy for the first time. Despite some early explorations in oil, in the first part of this decade he preferred using watercolour and graphic media in his studies of nature. He produced fine studies in these media during a trip to the famously picturesque Lake District in autumn 1806, but his exhibitions of these works in both 1807 and 1808 were unsuccessful in attracting public notice.

Early maturity

Although based in London during this period, Constable would frequently make extended visits to his native East Bergholt to sketch. (On one such stay in 1809, he fell in love with Maria Bicknell, who was visiting her grandfather, the rector there.) Constable had been regularly sketching in oil since 1808, and by 1810 he had achieved extraordinary deftness with the medium (he would often be associated with his oil sketches in the future). His art became far more focused about this time: his sketches were either discrete studies, or, befitting academic practice, they were made in preparation for preconceived easel paintings. The most significant large easel painting of the period was Dedham Vale: Morning (1811), which married closely observed naturalistic effect to a scene composed according to the academic criteria established by 17th-century French painter Claude Lorrain.

In September 1811 Constable stayed in Salisbury with an old family friend, the Bishop of Salisbury, and grew close to the bishop’s nephew, John Fisher. Their correspondence is a hugely informative source on Constable’s art: he explains his aims and aspirations, reacts candidly and sometimes aggressively to contemporary criticism, and reveals himself to be driven, ambitious, and prey to gnawing self-doubt.

During this period, Bicknell’s family was pressuring her to end her relationship with the struggling artist, and her courtship with him had to become effectively clandestine. Constable found relief from this distraction by working in East Bergholt and, by 1814, with Boatbuilding and The Stour Valley and Dedham Village, he was painting easel pictures in the open. In his works from this period, such as Flatford Mill (1816), Constable displayed remarkable precision of touch and accuracy in description, comparable to contemporary landscapes by George Robert Lewis and John Linnell. His iconography was traditional and celebrated the continuum and stability of English country life. Constable achieved a bittersweet stability of his own when, upon his father’s death in 1816, he received an inheritance that allowed him the financial independence to marry Maria.