John Constable: Making

“That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids. Sir Joshua Reynolds speaking of the "Landscape" of Titian & Salvator & Claude says 'Even their skies seem to sympathise with the Subject.' I have often been advised to consider my sky as a 'hite Sheet thrown behind the Objects'. Certainly, if the sky is 'obtrusive,' (as mine are) it is bad, but if they are 'evaded' (as mine are not) it is worse, they must and always shall with me make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the 'key note,' the 'standard of Scale' and the chief 'Organ of sentiment.'”

John Constable

You may conceive, then, what a "white sheet" would do for me, impressed as I am with these notions.
Letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

Parting

“I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can… but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done – I think however my mind is more settled and determined than ever on this point.”

John Constable

Quote in his letter to John Dunthorne (14 February 1814), as quoted in Constable (Tate Gallery Publications, London, 1993), p. 151
1800s - 1810s

Thinking , Future , Help

“There is nothing ugly; I never saw an ugly thing in my life: for let the form of an object be what it may, — light, shade, and perspective will always make it beautiful.”

John Constable

Quoted in C.R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843), (Phaidon, London, 1951), p. 280
Reply "to a lady who, looking at an engraving of a house, called it an ugly thing"
posthumous, undated

Life , Beauty , Light

“My picture [A Boat Passing a Lock, 1823-6] is liked at the [Royal] Academy, indeed it forms a decided feature and its light can not be put out. Because it is the light of nature — the Mother of all that is valuable in poetry — painting or anything else… my execution annoys most of them and all the scholastic ones – perhaps the scarifies I make for 'lightness' and 'brightness' is too much but these things are the essence of Landscape.”

John Constable

Letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 288
1820s

Nature , Light , Painting

“This appearance of the Evening was… just after a very heavy rain — more rain in the night and very — [? light] wind which continued all the — day following while making – this sketch observed the Moon easing – very beautifully… [in the] due East over the — heavy clouds from which the late showers – had fallen.”

John Constable

Inscription: 12 September, 1821, written on the back of 'Hampstead Heath, Sun setting over Harrow,' his sketch in oil on paper; as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London. 1993), p. 221
1820s

Light , Appearance , Night

“I ought to respect myself for my friends' sake, and my children's. It is time, at fifty-six, to begin, at least, to know oneself, — and I do know what I am not, and your regard for me has at least awakened me to believe in the possibility that I may yet make some impression with my "light" — my "dews" — my "breezes" — my bloom and freshness, — no one of which qualities has yet been perfected on the canvas of any painter in the world.”

John Constable

Quote from John Constable's letter to C.R. Leslie (March 1833), from The Letters of John Constable, R.A. to C. R. Leslie, R.A. 1826-1837 (Constable & Co., 1931), p. 104
1830s

Children , World , Light , Time

“But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight.”

John Constable

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

Love , Water , Painting

“And however one's mind may be elevated, and kept us to what is excellent, by the works of the Great Masters — still Nature is the fountain's head, the source from whence all originally must spring — and should an artist continue his practice without referring to nature he must soon form a manner, & be reduced to the same deplorable situation as the French painter mentioned by Sir J. Reynolds, who told him that he had long ceased to look at nature for she only put him out.For the last two years I have been running after pictures, and seeking the truth at second hand. I have not endeavoured to represent nature with the same elevation of mind — but have neither endeavoured to make my performances look as if really executed by other men….. There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.I am come to a determination to make no idle visits this summer, nor to give up my time to common-place people. I shall return to Bergholt, where I shall make some laborious studies from nature — and I shall endeavour to get a pure and unaffected manner of representing the scenes that may employ me.”

John Constable

3 quotes in Constable's letter to John Dunthorne (29 May 1802), from John Constable's Correspondence, ed. R.B. Beckett (Ipswich, Suffolk Records Society, 1962-1970), part 2, pp. 31-32
1800s - 1810s

Men , People , Truth , Spring

“It is always my endeavour however in making a picture that it should be without a companion in the world. At least such should be a painters ambition.”

John Constable

Letter to a client, Mr Carpenter (23 July 1828), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 291
1820s

World

“Here I am quite alone amongst the Oaks and solitudes of Helmingham Park. I have taken quiet possession of the parsonage finding it quite empty. A woman comes up from the farm house (where I eat) and makes the bed; and I am left at liberty to wander were I please during the day. There are abundance of fine trees of all sort; through the place upon the whole affords good objects [rather] than fine scenery, but I can badly judge yet what I may have to shew You. I have made one of two… drawing that may be useful. I shall not come home yet.”

John Constable

Quote from Constable's letter to John Dunthorne on his drawing: 'Helmingham Dell,' 1800, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 391
1800s - 1810s

Home , Solitude , Tree , Drawing

“He [the artist in general] ought to have 'these powerful organs of expression' — colour and chiaroscuro — entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of.”

John Constable

Text for the 'Old Sarum', print in 'English Landscape' 1835/36, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 380
1830s

Freedom , Appearance , Sun , Perfection

“I am going on very well with my pictures… the park [ Wivenhoe Park ] is the most forward — the great difficulty has been to get so much in as they wanted (his client, the Slater-Rebows) to make them acquainted with the scene — on my left is a grotto with some elms — at the head of a piece of water — in the center is the house over a beautifull wood and very far to the right is a Deer House — what it was necessary to add. So that my view comprehended to many degrees — but to day I got over the difficulty and I begin to like it 'myself'… I live in the park and Mrs. Rebow says I am very unsociable.”

John Constable

Letter to his future wife, Maria Bicknell (26 August 1816), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 119
1800s - 1810s

Water , Housing

“When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.”

John Constable

As quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

Nature , Forgetting