A new exhibition at Burgh House in Hampstead marks the 250th anniversary of John Constable’s birth, revealing a more intricate dimension of the celebrated artist. While many associate Constable with idyllic pastoral scenes and luminous landscapes, this show challenges that perception by showcasing lesser-known works that delve into darker and more abstract themes.
A Journey Through Constable’s World
John Constable, who never ventured beyond the shores of England, found inspiration in his homeland. His travels were limited to the confines of Suffolk, Hampstead, and Brighton, making his artistic vision profoundly rooted in the English landscape. In 1803, at the age of 26, he embarked on a rare excursion along the Kent coast—a journey that offered him glimpses of both beauty and melancholy. “I saw all sorts of weather,” he noted, capturing the duality of his experience.
While his contemporary, JMW Turner, was traversing the picturesque vistas of France and Italy, Constable remained committed to his local surroundings. “I have found another very promising subject at Flatford Mill,” he wrote to his wife, Maria. This unwavering dedication to English scenery has become part of his charm, with Constable’s ability to pinpoint the nuances of seasonal change making his work relatable to many. Yet, for some, his aristocratic lens can feel exclusionary, depicting a pastoral ideal where landowners survey the toil of labourers.
A Fresh Perspective at Burgh House
The exhibition at Burgh House serves as an olive branch to those who may have found Constable’s work overly sentimental. The focal pieces include three exquisite mezzotint prints created in collaboration with printmaker David Lucas, revealing a delicate interplay of light and shadow. In these works, Constable’s ink transforms into a translucent depiction of clouds, offering a fresh take on his mastery.
Among the highlights is an oil study for the painting “Hampstead Heath With a Rainbow.” This piece is strikingly disorientating, with its dramatic scale and composition. In the foreground, a ridge appears poised to tumble over two donkeys, while a flock of birds flits beneath a tumultuous sky where light spills through in a captivating cascade. The rainbow, often dismissed as overly sentimental, is absent from this study, allowing viewers to engage with Constable’s brushwork in a new light.
The thick impastos and blurred colours create an almost abstract quality, challenging the viewer to reconsider their preconceived notions of Constable’s art. The outlines of Branch Hill Pond—now a mere memory—are rendered as a vivid splash of blue amidst lush greens, suggesting a landscape that is both familiar and hauntingly transformed.
The Allure of the Mezzotints
The mezzotints commissioned from Lucas present another layer of intrigue. One such work, “Noon” from 1831, takes on an eerie quality, with a shepherd overlooking a landscape that is rendered in ghostly greys. The lack of colour invites contemplation, making the pastoral scene feel almost otherworldly. Constable frequently personalised Lucas’s prints by hand, adding his touch to the work—a testament to his desire for control and perfection.
For those less enamoured with the English countryside, the exhibition highlights a different interpretation of Constable’s vision. The unsettling atmosphere of “Noon” challenges viewers to step outside the confines of Burgh House to experience the vibrant reality of the landscape he immortalised.
A Celebration of Complexity
The exhibition runs until 20 September at Burgh House, just a stone’s throw from Constable’s former home. It invites both ardent admirers and newcomers to engage with the artist’s oeuvre, encouraging a dialogue about the complexities and contradictions within his work.
Why it Matters
This exhibition is significant not just for its celebration of Constable’s legacy but for its ability to unearth the multifaceted nature of his artistry. By showcasing works that diverge from the idyllic, the show compels viewers to confront the darker, more abstract elements of his vision. In doing so, it enriches our understanding of Constable, reminding us that the beauty of his landscapes is often intertwined with themes of melancholy and introspection. As we reflect on Constable’s contributions to art, we are reminded that the landscapes we cherish are often steeped in complexity—just like the artist himself.
