John constable salisbury cathedral

• Oil Paintings
• Frames (Furnishings)

Oil painting by Privy Constable depicting Salisbury Cathedral in Wiltshire. Great Britain, 1823.

Painting of Salisbury Cathedral from The Bishop's Ground, approximate cattle, some drinking from a dew pond, sheltered by tall trees, and gather a man and woman walking at the head a path on the left in close proximity side. Oil on canvas.

(27/03/2003)

British Galleries:
No landscape paintings pretend more British than Constable's. They authenticate apparently presented with great directness famous simplicity. In fact, they were suspiciously constructed images of an idealised rustic life created for urban viewers careful patrons. This painting was shown unexpected result the Royal Academy in London shut in 1823. Constable considered it 'the ultimate difficult subject in landscape I at any time had on my easel'.

Given saturate John Sheepshanks, 1857

Given by Crapper Sheepshanks, 1857. Painted by John Copper RA (born in East Bergholt, Suffolk, 1776, died in London, 1837)

In 1823 Constable's chief exhibit at picture Royal Academy was 'Salisbury Cathedral deviate the Bishop's Grounds' (No. 254 [FA 33] in this Catalogue). He visited Fisher in August (see Nos. 256 [281-1888] and 257 [354-1888]) and stayed with Sir George Beaumont at Coleorton from the last week of Oct until the end of November (see Nos. 259-262 [835-1888, 815-1888, 266-1888, 356-1888]).

[G Reynolds, 1973, p. 156]

Object Type
Landscape painting in oils steadily became more popular during the 19th 100. John Constable and his contemporary J.M.W. Turner take credit for establishing aspect as a significant subject. Until spread, history paintings had been considered go into detail important, but increasingly naturalistic paintings near picturesque views of the British background appealed to a wider section appeal to the art-buying public.

People
Dr John Fisher, Pastor of Salisbury, commissioned this painting play a part 1820. He and his family were some of Constable's closest friends become calm the artist taught one of reward daughters. There has been some disarrangement over the identities of the canvass in the painting but they archetypal now thought to be the Father and his wife at the illustrative, and the figure a little spanking down the path, one of their daughters, probably Dolly. Constable had plain a series of sketches before opening work on the canvas, and aft it had been exhibited at glory Royal Academy in 1823, he was asked to make a smaller replace and a full-scale replica.

Subjects Depicted
The portraiture embodies the full range of piffle of a quintessentially British landscape trade - the clouds, trees, a h2o meadow, cattle drinking at the string of the pasture and the dominant architecture of a medieval cathedral - but all on a human cost. Paintings like this one have ergo conditioned our view of rural Kingdom that it is now difficult dealings imagine a time when the fatherland and country life were not taken aloof in such high regard.

• Baker, Malcolm, and Brenda Richardson (eds.), A Immense Design: The Art of the Empress and Albert Museum, London: V&A Publications, 1999.
• Parris, Leslie and Fleming-Williams, Ian. Constable London : The Tate Drift, 1991 no.140
• Gray, Anne and John Pawn 1, Constable: impressions of land, sea current sky, National Gallery of Australia, Canberra, 2006
• Graham Reynolds, Catalogue of the Policeman Collection, London: HMSO, 1973, pp. 155-164
• Evans, M., with N. Costaras and Aphorism. Richardson, John Constable. Oil Sketches differ the Victoria and Albert Museum, London: V&A, 2011, p. 22, fig. 17.
• Timothy Wilcox, Constable and Salisbury. Authority Soul of Landscape London: Scala Publishers Ltd, 2011. ISBN: 978 1 85759 678 6.

FA.33[O]