In a captivating exhibition at Burgh House, London, art enthusiasts are invited to reconsider the complexities of John Constable’s work as they celebrate the 250th anniversary of the artist’s birth. While many may associate Constable solely with pastoral charm and idyllic landscapes, this showcase reveals a darker, more nuanced side to his artistry through a selection of mezzotints and an oil study that challenge our understanding of his celebrated oeuvre.
Constable’s Limited Horizons
John Constable, the quintessential English painter, never ventured far from the shores of his homeland. His excursions were few and far between, with a notable trip to the Kent coast in 1803 being a rare exception. At just 26 years old, he marveled at the variety of weather conditions he encountered, from the ethereal beauty of sunshine to the melancholic chill of a stormy sky. This journey marked a brief departure from his usual haunts of Suffolk, Hampstead, and Brighton.
While contemporaries like JMW Turner gallivanted across Europe, capturing the grandeur of foreign landscapes, Constable found profound inspiration in the familiar settings of his own country. His deep-rooted connection to the English landscape is evident in his meticulous observations—he could pinpoint the seasons with remarkable precision, as seen in his reflections to his wife Maria about discovering yet another promising subject at Flatford Mill. For Constable aficionados, this intimate relationship with his environment is a testament to his charm. However, others may find his patrician lens—an aristocrat surveying the labours of rural folk—somewhat off-putting.
A Refreshing Encounter at Burgh House
For those who have always found Constable’s work overly sentimental, the current exhibition at Burgh House presents a welcome reprieve. The show features three exquisite mezzotint prints alongside an oil study for “Hampstead Heath With a Rainbow.” The mezzotints, created in collaboration with printmaker David Lucas, are characterised by their delicate intricacies, where black ink achieves a translucent quality, particularly in the portrayal of clouds.
The oil study, devoid of the rainbow that often garners criticism for its overt sentimentality, offers a strikingly different perspective. With its thick strokes and blurred hues, this preliminary work evokes a sense of abstract expressionism, challenging preconceived notions of Constable’s style. The outlines of Branch Hill Pond—now long gone—emerge as a striking blue amid a cascade of greens, creating a visual experience that is both refreshing and thought-provoking.
A Haunting Atmosphere
The mezzotints, particularly “Noon” from 1831, delve into a more haunting realm of Constable’s artistry. Here, a solitary shepherd gazes over the landscape, shrouded in an air of mystery. The print’s ethereal quality is accentuated by Lucas’s technique, which imbues the clouds with an unsettling greyness that transforms the bucolic scene into something almost spectral. This interpretation, while diverging from Constable’s vivid palette, invites viewers to step outside the confines of the gallery and engage with the real, unaltered beauty of the countryside.
As visitors exit Burgh House, the contrast between the ghostly prints and the vibrant reality of the surrounding landscape serves as a poignant reminder of the duality within Constable’s work. The exhibition runs until 20 September, giving ample opportunity for both ardent fans and sceptics to explore these deeper layers of his artistry.
Why it Matters
This exhibition at Burgh House challenges the conventional view of John Constable, encouraging a critical reassessment of his legacy. By presenting works that reveal a more complex and sometimes unsettling aspect of his vision, it invites audiences to engage with the artist in a new light. As we celebrate Constable’s enduring impact on British art, it is essential to acknowledge the spectrum of emotions his work can evoke, reminding us that even the most celebrated figures in art are not without their shadows. This exploration of nuance not only enriches our understanding of Constable but also deepens our appreciation for the intricate relationship between artist and landscape.
