Elm trees

ca. 1820 · Drawing · 23.4 × 16 cm

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ヴィクトリア&アルバート博物館

ロンドン, イギリス

コレクションに属していますが、現在は展示されていません。

確認: 7 日前
この状態になった日: 2026年9月25日
出典: 美術館自身の所蔵データ

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作品について

In this drawing Constable seems more interested in capturing the effects of light and shade on the trees than drawing details of their form. He has used a mass of diagonal hatching to suggest the varying density of the foliage. The overall effect has an almost abstract quality. The drawing may come from a sketchbook that Constable used between 1820 and 1821.

ヴィクトリア&アルバート博物館

作品データ

収蔵番号: 351-1888

What it shows

木

カタログ収録

British School グレートブリテン島

出典

ヴィクトリア&アルバート博物館: the museum's own open data · 7 日前に取得
画像：ヴィクトリア&アルバート博物館 — © Victoria and Albert Museum, London

その頃、John Constableの人生では

生涯をすべて見る

1821
“The Hay Wain” at the Royal Academy
The picture, shown as “Landscape: Noon”, found no buyer, but it was seen by the painter Théodore Géricault and the writer Charles Nodier. According to Delacroix, Géricault went back to France quite stunned and invited Constable to Paris, while Nodier urged French artists to look to nature rather than to trips to Rome.
1821
“I should paint my own places best”
In a letter to his friend John Fisher in 1821 Constable wrote that he should paint his own places best, and that painting is but another word for feeling. The Dedham Vale around his home came to be known as “Constable Country”.
1821
Son born: Charles Golding Constable
23 October 1821
To Fisher: “I have done a good deal of skying”
Constable wrote to Fisher that he had done a good deal of skying and was determined to conquer all the difficulties that remained. He made cloud studies, noting the weather, direction of light and time of day on the back, and held the sky to be the key note of a landscape, drawing on the meteorologist Luke Howard’s classification of clouds.
1822/1823
Daughter born: Isabel Constable