Art enthusiasts and newcomers alike are offered a fresh perspective on John Constable’s work at Burgh House, London, in a thought-provoking exhibition celebrating his 250th birthday. This showcase reveals a more complex side to the iconic artist, challenging the notion that his oeuvre is merely a celebration of idyllic English landscapes bathed in sunshine. Through delicate mezzotints and a striking oil study, the exhibition invites viewers to reconsider the emotional undercurrents that run through Constable’s art.
A Journey Through Constable’s England
Despite never venturing far from his native land, Constable’s artistic vision was expansive. Born in Suffolk in 1776, he traversed the English countryside, immersing himself in its varied landscapes. A solitary trip to the Kent coast in 1803 marked his only foray beyond England, a brief excursion that ignited his passion for the shifting moods of weather. “I saw all sorts of weather,” he wrote, capturing the delightful and the melancholic. This duality is deeply embedded in his work, juxtaposing pastoral beauty with underlying tension.
For Constable, home was where the heart—and the canvas—was. Unlike his contemporary J.M.W. Turner, who roamed the European continent, Constable found inspiration in the familiar. “I have found another very promising subject at Flatford Mill,” he wrote to his wife, revealing his loyalty to his roots. This attachment to the English landscape cultivates a sense of nostalgia for many, while others may find his perspective somewhat aloof, as if viewing life from a lofty vantage.
A New Perspective on Familiar Works
The exhibition at Burgh House serves as an olive branch for those who may have dismissed Constable as overly sentimental. Central to the display are three delicately crafted mezzotint prints by David Lucas that reveal a different side to Constable’s vision. The prints, particularly “Noon” from 1831, present an ethereal, almost haunting quality that contrasts sharply with the vibrant colours typically associated with Constable’s paintings. The shepherd depicted on a hill looms with an air of mystery, surrounded by clouds that seem to swirl ominously above the landscape.
In addition, an oil study for “Hampstead Heath with a Rainbow” reveals a complexity often overlooked. The final painting, which was part of a recent blockbuster exhibition at the Tate, can be disorientating with its dramatic composition—one that features a wave-like ridge threatening to crash down upon two donkeys below. The rainbow, often perceived as overly sweet, is absent in the study, allowing viewers to focus on the thickly layered impastos and blurred colours that evoke a more abstract expressionist style. The contours of Branch Hill Pond, now dried, are rendered as a mere splodge of blue amidst vibrant greens, suggesting a deeper narrative of loss and change.
Revisiting the English Countryside
For those less charmed by Constable’s pastoral scenes, the mezzotints offer a refreshing alternative. The eerie tones of “Noon” transform the countryside into an unsettling vision, with Lucas seemingly draining the colour from the original, leaving an unsettling grey that prompts viewers to reconsider their preconceptions. To truly appreciate Constable’s work, one must step outside Burgh House and engage with the real landscape that inspired him, where colours burst forth in their natural splendour.
The exhibition runs until 20 September, allowing ample opportunity for visitors to immerse themselves in a reinterpretation of Constable’s legacy.
Why it Matters
This exhibition at Burgh House is not merely a celebration of John Constable’s 250 years; it serves as a critical re-examination of an artist often pigeonholed as a purveyor of picturesque serenity. By delving into the complexities of his work, we gain insight not only into Constable’s artistic journey but also into the broader context of 19th-century England. As we navigate a world that often romanticises the past, this fresh perspective encourages us to confront the complexities of beauty, nostalgia, and the passage of time, reminding us that every landscape has its shadows.
