JOHN CONSTABLE,Vintage Art Masterpieces,Vintage Prints for Sale The Haywain by JOHN CONSTABLE {English School}

The Haywain by JOHN CONSTABLE {English School}

The Haywain by

CONSTABLE’S Haywain is a picture of historical significance. Painted in 1821,
it was exhibited at the Paris Salon of 1824, where it created a sensation among
the younger French artists.

Struck by its luminosity of tone, Delacroix reo
painted-in four days, it is said his Massacre of Sew, and hailed Constable
as the father of modern landscape. To the romantics of France, the Englishman
introduced a method with which to kill the lingering disease of antiquity. He
flooded his canvases with natural light and air;

he used bright colors-in
many of his pictures the original brilliancy has faded-and divided his tones,
producing a vivid red or green by separate tones applied with a palette knife,
one against another; and he took his easel into the open country. Today, this
method is a commonplace: to the men of 1824, it was revolutionary.

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In his grasp of the stable repose, the spiritual contentment induced by
companionship with nature-in his day a form of pantheism-Constable is
the master of the English school.

The solid tranquillity is the life of the man.
His road to fame was long but his patience was sufficient for the journey; he
worked and waited, and eventually enjoyed all that a wise and healthy man
required. It was characteristic of him that while the French were praising
The H aywain to the skies he was painting the countryside at Suffolk.

Constable was the first man of importance to paint in the open air, to restore
the color of grass from the brown of an old fiddle to its natural green, the first
to paint the wetness of water; he conveys the freshness, the sparkle, the shim­
mering richness of the outdoor world;

his sky is not a background but an
enveloping atmosphere of light and color; his clouds move; he carries the
spectator away from the painted surface into the presence of nature itself.
But Constable did not stop with objective fidelity-the word science was
always on his lips. He planned his landscapes

systematically, enhancing
their vividness and intimacy by a searching scrutiny of natural forms. He
added direct observation to landscape painting; and invented a new poetic
language which marked the decline of the mechanical exteriors and conven­
tionalized foliage of those who tried so hard to paint in the grand manner.


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