Tag: Constable: The Making of a Master

20 September 2014 – 11 January 2015. The major exhibition Constable: The Making of Master reveals the hidden stories of how John Constable created some of his most loved and well-known paintings. On display will be such famous works as The Haywain together with the oil sketches he painted outdoors direct from nature.

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Still painting like Constable

Palette knife effects in the sky © S.Connor

Humbled by my last feeble attempts at painting like Constable (here), I began work on a substantially scaled down version of Constable’s Full scale study for the Haywain. I prepared a small canvas by stretching commercially primed canvas – linen, with a white ground, that you can buy by the metre. I stretched it around […]

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Painting like Constable


Having prepared some Constable style paper boards with Sophie Connor a little while back (read about it here), I faced the daunting prospect of trying to paint like Constable. To try to make this a bit easier I based my sketch on a painting by Constable that I had recently examined, Buildings on Rising Ground near […]

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Constable Digital Kids activity to do at home

Constable Digital Kids Activity for Families

As the Constable: The Making of a Master exhibition enters its final month at the Victoria & Albert Museum and with young animators and digital painters anticipating new tablets for Christmas presents; this refresh of the basic instructions for PhotoViva and PuppetPals apps from the two Constable themed families activities this term, should provide a well-timed reminder […]

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Discovering legacies at the V&A: Steve Daszko

The Constable:  Making of a Master Private View

It’s a Wednesday evening, late September. The night is young and I find myself playing ‘spot the difference’ in the heart of the V&A’s Constable: The Making of a Master exhibition. I am with Steve Daszko, a good friend to the V&A, and we are comparing the V&A’s full-scale study of The Hay Wain with […]

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Constable’s Country: Inspired by Suffolk Settings

Oil painting of Flatford Mill from a Lock on the Stour

Much of John Constable’s current reputation as a painter rightly rests on his development of the ‘plein-air’ oil sketch and his naturalistic style of painting. Also powerfully engaging for a contemporary audience is his autobiographical choice of subjects. In this piece, Winsor & Newton Resident Artist Mathew Gibson explores Constable’s complex personal motivations for painting […]

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Spot the Dog

Microscope image of Constable's dog

Visitors to the Constable: The Making of a Master exhibition will be able to see a number of extraordinary copies painted by Constable alongside the original Old Master paintings that inspired him. His paintings after Jacob van Ruisdael’s (c.1629-1682)  Landscape with Windmills near Haarlem and Winter  are so similar to the originals that it is […]

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Constable: The Making of an Exhibition

Technicians install 'The Hay Wain' (full-size sketch).

After months of planning, ‘Constable: The Making of a Master’ is open to the public. While bringing an exhibition of this scale together takes a lot of time and energy from people inside and outside the museum, it is only in the last two weeks before opening that objects start being moved into the space Installing this […]

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Andrew Graham Dixon opens Constable: The Making of a Master

Andrew Graham Dixon speaks at the opening of Constable: The Making of a Master

On 17th September 2014 at the launch of Constable: The Making of a Master, art critic and broadcaster Andrew Graham Dixon spoke about the painter, his radical approach, working methods and lasting legacy. Open to the public from 20 September 2014 – 11 January 2015. Constable: The Making of Master reveals the hidden stories of how […]

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Constable’s Quill

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Did Constable use a steel nibbed pen? a reed, or a quill for his ink drawings? Sometimes, preparing the prints, drawings and paintings for an exhibition gives us a good opportunity to start to ponder these kinds of questions… Looking at the back of Constable’s Study of Poppies (Paintings Conservation interns, Arabella and Morgan talked about this work in our […]

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Constable sketches up close and personal

Swirls of colour under the micoscopeshows Constable's alla prima technique. © Victoria and Albert Museum, London.

Our dynamic Paintings Conservation interns, Arabella and Morgan have been lucky enough to work on some of our Constable oil sketches this week for the upcoming Constable: Making of a Master exhibition. We’ve posted recently on our discovery of an unknown Constable sketch that was hidden by an old lining, so of course preparing the rest of the sketches for exhibition gave Arabella and Morgan another […]

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