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Delphi Masters of Art #17
Delphi Collected Works of John Constable (Illustrated)
Celebrated for his iconic depictions of the English countryside, particularly his beloved Stour valley, John Constable helped raise the status of landscape painting. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing digital readers to explore the works of great artists in comprehensive detail. This volume presents Constable’s collected paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)* A comprehensive range of paintings — over 200 artworks, fully indexed and arranged in chronological and alphabetical order* Includes reproductions of rare works* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information* Enlarged ‘Detail’ images, allowing you to explore Constable’s celebrated works in detail, as featured in traditional art books* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders* Special chronological and alphabetical contents tables for the paintings* Easily locate the paintings you want to view* Includes Leslie’s seminal biography - spend hours exploring the poet's personal correspondence and intriguing life - first time in digital print* Scholarly ordering of plates into chronological orderPlease visit www.delphiclassics.com to browse through our range of exciting e-Art HighlightsDEDHAM VALEPORTRAIT OF MARIA PLOUGHING SCENE IN SUFFOLKBOAT-BUILDING NEAR FLATFORD MILLWEYMOUTH BOWLEAZE COVE AND JORDON HILLFLATFORD MILLTHE OPENING OF WATERLOO BRIDGE SEEN FROM WHITEHALL STAIRSTHE WHITE HORSEHAMPSTEAD HEATHTHE HAY WAINCLOUD STUDY, 1822THE LEAPING HORSESALISBURY CATHEDRAL FROM THE BISHOP’S GROUNDSTHE CORNFIELDMARINE PARADE AND CHAIN PIER, BRIGHTONHADLEIGH CASTLESALISBURY CATHEDRAL FROM THE MEADOWSThe PaintingsTHE COLLECTED PAINTINGSALPHABETICAL LIST OF PAINTINGSThe DrawingsSELECTED DRAWINGSThe BiographyLIFE AND LETTERS OF JOHN CONSTABLE, R.A. by C. R. LesliePlease visit www.delphiclassics.com to browse through our range of exciting titles
- GenresArtNonfiction
777 pages, Kindle Edition
First published September 1, 2015
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Displaying 1 - 3 of 3 reviews
January 10, 2016
Constable
I applaud Delphi for a great presentation of artists and their works. E-books show art as never before truly amazing.
I applaud Delphi for a great presentation of artists and their works. E-books show art as never before truly amazing.
June 17, 2024
Nicely edited complete works of the famous landscape painter.
What is great about this edition in regards to Constable’s major works, is that we get a modern photograph of the places he painted. In that way, the reader experiences a notable continuity between the artist's day and our own.
In general, what I liked about the pieces in this volume is the blend of realism and creative sensitivity. On the one hand, the sites are depicted as they were in all of their colour, depth, and detail. On the other hand, the scenes often seem to go beyond the immediate, and I got the sense that Constable captured not just the clouds, fields and the trees but a way of how it was for him to observe these things. To me, that is normally a quality of the highest art. For example, see Weymouth Bay: Bowleaze Cove and Jordon Hill, View at Epsom, Hampstead Heath, Salisbury Cathedral from Bishop’s Grounds and Marine Parade and Chain Pier, Brighton. Another thing that I appreciated was the serenity with which images like Ploughing Scene in Suffolk or Dedham Vale: Morning emanate.
Nevertheless, the compositions such as Flatford Mill or The White Horse, though careful and rich, were a bit underwhelming. Perhaps they would make a more powerful impression on me if I were to see them in their intended scale.
Similarly, the colours in works like the Cornfield or Salisbury Cathedral from the Meadows are no doubt subtle yet vivid, but they are not doing the trick for me. It is almost as if they were too saturated somehow. Relatedly, images like Hay Wain or the Leaping Horse are rightfully famous due to their detail and feeling. But personally, I found it a bit difficult to engage with. If we are to agree that kitsch is broadly speaking the quality of having too much of something, the paintings mentioned directly above have precisely that. Or it is just on me that I do not find many of Constable’s works that interesting. Because of this, I allowed myself to omit the artist’s biography, which makes the bigger part of this book.
I think it makes sense for Constable’s output to be remembered for his honest admiration of nature and the capturing of countryside life during the closing decades of the Industrial Revolution. Nevertheless, I can see how his brand of 19th-century romanticism would not be everyone’s cup of tea, and that's fine too.
What is great about this edition in regards to Constable’s major works, is that we get a modern photograph of the places he painted. In that way, the reader experiences a notable continuity between the artist's day and our own.
In general, what I liked about the pieces in this volume is the blend of realism and creative sensitivity. On the one hand, the sites are depicted as they were in all of their colour, depth, and detail. On the other hand, the scenes often seem to go beyond the immediate, and I got the sense that Constable captured not just the clouds, fields and the trees but a way of how it was for him to observe these things. To me, that is normally a quality of the highest art. For example, see Weymouth Bay: Bowleaze Cove and Jordon Hill, View at Epsom, Hampstead Heath, Salisbury Cathedral from Bishop’s Grounds and Marine Parade and Chain Pier, Brighton. Another thing that I appreciated was the serenity with which images like Ploughing Scene in Suffolk or Dedham Vale: Morning emanate.
Nevertheless, the compositions such as Flatford Mill or The White Horse, though careful and rich, were a bit underwhelming. Perhaps they would make a more powerful impression on me if I were to see them in their intended scale.
Similarly, the colours in works like the Cornfield or Salisbury Cathedral from the Meadows are no doubt subtle yet vivid, but they are not doing the trick for me. It is almost as if they were too saturated somehow. Relatedly, images like Hay Wain or the Leaping Horse are rightfully famous due to their detail and feeling. But personally, I found it a bit difficult to engage with. If we are to agree that kitsch is broadly speaking the quality of having too much of something, the paintings mentioned directly above have precisely that. Or it is just on me that I do not find many of Constable’s works that interesting. Because of this, I allowed myself to omit the artist’s biography, which makes the bigger part of this book.
I think it makes sense for Constable’s output to be remembered for his honest admiration of nature and the capturing of countryside life during the closing decades of the Industrial Revolution. Nevertheless, I can see how his brand of 19th-century romanticism would not be everyone’s cup of tea, and that's fine too.
June 3, 2021
I love the story the love story of The Constables and for some reason I kept thinking of Balzac's The Human Comedy's artists and Constable was living during the times. Vincent van Gogh mentions in his letters how hard it is to paint En plein air Constable brings the majestic of nature to his canvases, giving the viewer a view of England. I look forward to reading his letters at some point. Wonderful works of art.
"By 1803, Constable was exhibiting his own works at the Royal Academy. His early style had many qualities associated with his mature work, including a freshness of light, colour and touch, revealing the compositional influence of the old masters he had studied, notably of Claude Lorrain. However, Constable’s usual choice of subjects — scenes of ordinary daily life — were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins.
Completed in 1802, the following plate, Dedham Vale, presents a view of the countryside in an area around the River Stour between Manningtree and Smallbridge Farm in Essex — a scene familiar to Constable from his boyhood days. The area has been known since the artist’s lifetime as ‘Constable Country’, as it was made famous by the subsequent paintings that would be produced by the artist.
From 1809, Constable’s childhood friendship with Maria Elizabeth Bicknell developed into a deep and mutual love. Their marriage in 1816, when Constable was forty years old, was opposed by Maria’s grandfather, Dr. Rhudde, rector of East Bergholt. He considered the Constables his social inferiors and threatened Maria with disinheritance. Maria’s father, Charles Bicknell, solicitor to King George IV and the Admiralty, was reluctant to see Maria throw away her inheritance. Maria pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure. However, after they died in quick succession in 1816, Constable inherited a fifth share in the family business. Constable and Maria were finally married in October 1816 at St. Martin-in-the-Fields and enjoyed a honeymoon tour of the south coast.
The following portrait of Maria was painted a few months before they were married and Constable wrote to his fiancée in August: “I would not be without your portrait for the world.” He went on to add, “It is always the first thing I see in the morning and the last at night.” Although Constable was not a celebrated portraitist, in his early years he was urged to take on commissions by his family and friends, as the demand was much greater than for his preferred genre of landscapes. Nevertheless, the artist’s undoubted affection for his betrothed is clearly delineated in the radiant portrayal of an attractive, well dressed and richly jewelled young lady."
"By 1803, Constable was exhibiting his own works at the Royal Academy. His early style had many qualities associated with his mature work, including a freshness of light, colour and touch, revealing the compositional influence of the old masters he had studied, notably of Claude Lorrain. However, Constable’s usual choice of subjects — scenes of ordinary daily life — were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins.
Completed in 1802, the following plate, Dedham Vale, presents a view of the countryside in an area around the River Stour between Manningtree and Smallbridge Farm in Essex — a scene familiar to Constable from his boyhood days. The area has been known since the artist’s lifetime as ‘Constable Country’, as it was made famous by the subsequent paintings that would be produced by the artist.
From 1809, Constable’s childhood friendship with Maria Elizabeth Bicknell developed into a deep and mutual love. Their marriage in 1816, when Constable was forty years old, was opposed by Maria’s grandfather, Dr. Rhudde, rector of East Bergholt. He considered the Constables his social inferiors and threatened Maria with disinheritance. Maria’s father, Charles Bicknell, solicitor to King George IV and the Admiralty, was reluctant to see Maria throw away her inheritance. Maria pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure. However, after they died in quick succession in 1816, Constable inherited a fifth share in the family business. Constable and Maria were finally married in October 1816 at St. Martin-in-the-Fields and enjoyed a honeymoon tour of the south coast.
The following portrait of Maria was painted a few months before they were married and Constable wrote to his fiancée in August: “I would not be without your portrait for the world.” He went on to add, “It is always the first thing I see in the morning and the last at night.” Although Constable was not a celebrated portraitist, in his early years he was urged to take on commissions by his family and friends, as the demand was much greater than for his preferred genre of landscapes. Nevertheless, the artist’s undoubted affection for his betrothed is clearly delineated in the radiant portrayal of an attractive, well dressed and richly jewelled young lady."
Displaying 1 - 3 of 3 reviews