John Taylor, Records of my Life, London, 1832
Flora Thompson, Lark Rise to Candleford, Oxford, 1939, reprinted 1973
Walter Thornbury, Turner: 2 vols, London, 1862; 1 vol., London, 1877
G.M. Trevelyan, English Social History, London, 1942, reprinted 1946
Barry Venning, Constable, London, 1990
Kit Wedd (with Lucy Peltz & Cathy Ross), Creative Quarters: the Art World in London 1700–2000, London, 2001
R.J. White, Life in Regency England, London & New York, 1963
William T. Whitley, Art in England 1800–1820, Cambridge, 1928
William T. Whitley, Art in England 1821–1837, Cambridge, 1930
Selby Whittingham, Constable and Turner at Salisbury, Salisbury, 1972
Andrew Wilton, Constable’s ‘English Landscape Scenery’, London, 1979
James Woodforde, ed. J. Beresford, Diary of a Country Parson, Oxford, 1935
Ian Yearsley, Dedham, Flatford and East Bergholt, Chichester, 1996
Arthur Young, General View of Agriculture of the County of Suffolk: London, 1797; revised edn, 1813
G.M. Young, ed., Early Victorian England 1830–65 incl. article by A.P. Oppé, 2 vols, Oxford, 1834
Exhibition Catalogues
Constable: The Art of Nature by Leslie Parris & Conal Shields, Tate Gallery, London, 1971
John Constable, with essays by Ian Fleming-Williams, Leslie Parris & Conal Shields, Tate Gallery, London, 1976
Constable’s Country, introduction by Michael Rosenthal, Gainsborough’s House, Sudbury, 1976
Constable’s England, with essay by Graham Reynolds, Metropolitan Museum, New York, 1983
John Constable, R.A., with essays by Julius Meier-Graefe, Graham Reynolds, et al., Salander–O’Reilly Gallery, New York, 1988
Constable, with essays by Ian Fleming-Williams & Leslie Parris, Tate Gallery, London, 1991
John Constable and David Lucas, with essay by Leslie Parris, Salander–O’Reilly Gallery, New York, 1993
Brighton Revealed through Artists’ Eyes, ed. David Beevers, with essay by Ian Warrell, Royal Pavilion Art Gallery, Brighton, 1995
Constable and Wivenhoe Park, J. Clarkson, N. Cox, M. Rosenthal, J. Nash et al., University of Essex, 2000
Constable’s Clouds, ed. Edward Morris, with essays by John Gage, Anne Lyles, Martin Suggett, John E. Thornes & Timothy Wilcox, Liverpool and Edinburgh, 2000
Constable: Le Choix de Lucian Freud, with essays by William Feaver, John Gage, Anne Lyles, Oliver Meslay et al., Paris, 2002
Constable’s Skies, ed. Frederic Bancroft, with essays by Sarah Cove, Anne Lyles, Peter Power, Graham Reynolds & Conal Shields, Salander–O’Reilly Gallery, New York, 2004
Magazines and Periodicals
Apollo, LXXXI, 1965: R.B. Beckett, ‘Constable at Epsom’
Burlington Magazine, October 1982: Adele M. Holcomb, ‘John Constable as a contributor to the Athenaeum’
Burlington Magazine, March 1999: Anne Lyles review of Reynolds, Early.
Burlington Magazine, September 1999: F.G. Notehelfer, ‘Constable and the Woodbridge Wits’
Journal of the Warburg Institute, XX 1957: Michael Kitson, ‘Constable 1810–16’
Oxford Art Journal, 19:2, 1996: William Vaughan, ‘Constable’s Englishness’
Turner Studies, 8:1, 1988: Louis Hawes, ‘Wordsworth & the Age of English Romanticism’
Index
The page references in this index correspond to the printed edition from which this ebook was created. To find a specific word or phrase from the index, please use the search feature of your ebook reader.
All paintings are Constable’s unless otherwise specified.
Abergavenny (ship) 93–4
Ackermann’s Repository of Art 85
AGBI see Artists’ General Benevolent Institution
Agnews 318
Albus, Anita 9–10
Algarotti, Count Francesco: Essay on Painting 13–14
Allen, Jane (née Watts) 14
Allen, Thomas 14
Allen, Lieutenant Thomas 77
Allnutt, John 70
Allston, Washington 103
Alston, Edward 136
Altree, W.W. 288
Andrew, Reverend Dr James: portrait of (1818) 103
Appleton, Mr (tub-maker) 154
Archbutt, Samuel 308
Archer-Burton, Lancelot (formerly South) 306, 308
Arnold, Mrs Charles 89
Arnold, J.W. 235
Arrowsmith, John 123, 150, 152, 153, 154, 159, 164, 167, 210, 258
Artists’ General Benevolent Institution (AGBI) 103, 110, 165, 178, 246, 253, 300–1
Arundel Mill and Castle (1837) 297, 300, 305, 306
Ashmolean Museum, Oxford 317
Athenaeum 215, 248, 276, 291
Atkinson, Christopher, MP 20
Atkinson, Mary 310
Austen, Jane
Sanditon 146
Sense and Sensibility 55
Autumn Wood, An (1816) 85
Aylesbury, Marquess of 152
Baillie, Dr Matthew 137
Baily, E.B. 100
Bannister, Jack 168, 178, 226, 251, 286, 294
Barge on the Stour, A (1827) 179
Barge Passing a Lock, A (c. 1823) 138, 139
Baring, Maurice xv
Barnwell, Reverend F.H. 79
Beauchamp, John: foundry 239
Beaumont, Sir George 12; introduces Constable to Claude 12–13, 23, 29, 182; as mentor to Constable 13, 28, 36, 176, 234; as artist 39, 144; other protegés 46, 249, 250; relationship with Constable 13, 66, 142–3, 144–5, 152, 166; on Bourdon 267; erects memorial to Reynolds 288–90; death 176; bequest to Lawrence 209
Beaumont, Lady 7, 12, 36, 142
Beauvoir, Richard Benyon de 237, 243, 244, 245
Beckett, Ronald: John Constable’s Correspondence xvi–xvii
Beckford, William: Fonthill 141–2
Beechey, Sir William 100, 220, 287, 306
Bell, Clive 318
Bell’s Weekly Messenger 122, 291, 303
Berchem, Nicolaes 268, 272, 288
Bickmore, W.E. 279, 283
Bicknell, Catherine (Maria’s sister) 67, 83, 108, 121, 145
Bicknell, Charles (Maria’s father) 8, 27, 49–50, 52; and Constable’s courtship of his daughter 50, 54, 55, 56, 62, 63, 74, 81, 84, 87; offended by Constable 70; inherits from Dr Rhudde 79; and his daughter’s wedding 91, 95; tries to influence Constable’s Academy election 91; gives Maria an allowance 96, 108; his Putney cottage 96; becomes godfather to the Constables’ first son 101; convalesces in Brighton 173; complains of being hard up 175; death 182; bequests to his daughters 182, 306
Bicknell, Durand (Maria’s brother) 51, 145
Bicknell, Louisa (Maria’s sister) see Sanford, Louisa
Bicknell, Maria see Constable, Maria
Bicknell, Samuel (Maria’s brother) 63, 108, 121, 145
Bigg, W.R. 100, 154, 190–91
Blackwood’s magazine 277, 305
Blake, William 109, 112, 177–8, 251
Bloomfield, Robert: The Farmer’s Boy 69, 128, 129
Blower, Mr (headmaster) 4
Boat-Building (1814–15) 73, 76
Boat Passing a Lock, A (1829) 215
Bogdani, Mrs (née Rhudde) 8, 50
Bogdani, William 8, 50
Boner, Charles: as tutor to Constable’s sons 203–4, 206, 240, 241, 242; as Constable’s factotum 239, 255, 262; Constable’s letters to 235, 244, 247, 252, 270, 271, 274, 283; becomes tutor in Germany 270, 312; regrets not being Constable’s biographer 312
Bonington, Richard Parkes 111–12, 181
Borrowdale… (1806) 38
Both, Jan 272, 288
Boucher, François 269, 272
Bourdon, Sébastien 267
Bourgeois, Sir Francis 34
Bowen, Captain 179
Boys Fishing (18
13) 65, 66, 67
Bradstreet, Robert 16
Brantham church, Suffolk: Christ Blessing the Children (c. 1804) 36, 43
Bridge, The (View on the Stour, near Dedham) (1822) 124, 125, 135, 137, 150
Bridgeman, Reverend George: portrait of 67
Bridges, George, and family: portrait of 34
Briggs, Henry 244
Brighton, Sussex 153, 156, 157–9, 165, 168, 174, 185
Brightwell Church and Village (1815) 79
British Institution exhibitions 66, 137, 152, 206; (1813) 67; (1814) 70; (1819) 106; (1822) 123; (1825) 159, 164; (1828) 181; (1829) 194–5
British Museum, London 14, 311, 317
Britton, John 215
Brookes, Joshua 28
Brougham, Henry Brougham, Baron 226
Bryan, Michael: art gallery 24
Buckinghamshire (ship) 280, 281, 293, 294, 309, 313
Burnet, John 53
Byron, George Gordon, Lord 66, 151
Cadogan, Lord 152
Callcott, Augustus Wall 139, 177, 193, 292
Canning, George 177
Carlisle, Anthony 42
Caroline, Queen 114–15, 226
Carpenter, James 67, 120, 166, 215, 313
Carracci, Annibale 22, 267
Cary, F.S. 311
Cenotaph, The (1833–36) 237, 288–91, 289, 297, 317
Chain Pier, Brighton, The (1827) 176–7, 181, 307
Chalon, Alfred 191, 248
Chalon, John 278
Chantrey, Francis 171, 182, 184, 193–4, 248, 258, 287, 292
Charles X, of France 160
Chiverton, Thomas 225–6
Christie’s (auctioneers) 246, 257, 316
Clark, Kenneth 318
Claude Lorrain 12–13, 82, 126, 267, 307; influence on Constable 13, 36, 52, 53, 71, 72, 176; pictures copied by Constable 18, 119, 143–4, 272, 315
Hagar and the Angel 12–13, 23, 29, 182
Landscape with Goatherd and Goats 143–4
Liber Veritatis 211
Clerk, Mr and Mrs Walter 103, 107, 284–5
Cloud Study (with verses from Bloomfield) (c. 1822) 129
Cobbett, William 115, 118, 274
Cobbold, Elizabeth 16, 17
Cobbold, Harriet 34
Cobbold, Sophia 34
Coleorton Hall, Leicestershire 12, 142–5; monument to Reynolds 237, 288–90
Coleridge, Samuel Taylor 39, 40, 219
Collins, William 111, 117, 177; relationship with Constable 111, 138, 163, 182, 195, 251; his work criticised by Constable 111, 251, 295; criticism of Constable’s work 121; on Constable after his death 252
Colnaghi, Dominic: Constable to 187
Colnaghi, Paul 150
Colnaghis, the 214, 218
Constable, Abram (uncle) 2, 6
Constable, Abram (brother): birth 5; starts work in family business 17; as family intermediary and messenger 43, 51; and mother’s funeral 75–6; and Dr Rhudde 76, 88, 94, 95; deals with family affairs 86, 107, 109; portrait (c. 1806) 104; sets up house with sister (Mary) 104; and The Hay Wain 121; and agricultural depression 123, 135; praises Johnny Dunthorne 151; sends money to Constable 166; illness and his brother’s visit 172; tries to put Constable off from visiting 178; pleased by Bicknell bequest 182–3; cheerful letters to Constable 184, 187; visits Constable on Maria’s death 188–9; and Constable’s election 191–2; and death of his dog 198; advises Constable to make allowances for Golding 199; praises Mrs Roberts 202; has Constable to stay 225, 236, 274; cheers Constable when ill 229; as uncle 229, 241; and Charley’s schooling 239; receives Christmas port from Constable 246; and Constable’s reviews 277, 290; gets Charley posting on ship 280; brings linseed oil for Lucas 283–4; involved in ‘vast works’ on lock gates 284; and Mary’s land purchase 284; at Constable’s funeral 303; money owed to Constable 306; discord with nephews and nieces 309; has Alfred to stay 311; on his brother’s paintings 9, 243, 244, 313
Constable, Alfred Abram (‘Alfie’; son): birth and christening 175; illness 176, 185; childhood 203, 230, 280, 311; education 239, 241, 282–3; in Hampstead 293, 296; exhibits at Royal Academy 311; death 312
Constable, Ann (née Watts) (mother): marriage 2–3; and Constable’s schooling 4; her ‘connections’ 7, 11–12, 19; and the Dunthornes 10, 11, 68–9, 75; and J.T. Smith 17; her hopes for Constable’s future 8, 17, 58, 73; keeps Constable abreast of village news 20–21, 25, 43–4, 46–7, 74; portrait (c. 1803) 35, 35; worried about husband’s health 43; approves of Constable’s courtship of Maria 49, 57–8; recognises the importance of Dr Rhudde 50–51, 58–9, 75; maternal worries 51–2, 56; offended by Maria’s brother 63; stroke and death 75, 80
Constable, Ann (sister): childhood 3, 5–6; and father’s death 86; runs dog kennels 87; invites the Constables to stay 94, 95, 98; and sale of family house 103, 104; portrait 105; as godmother to Maria Louisa 108; in a prickly mood 121; house burgled 135; apologises to Constable for ‘some passing clouds’ 188; praises Johnny Dunthorne 204–5
Constable, Charles Golding (‘Charley’; son): birth 120, 162–3; childhood 144, 164, 166, 173, 203, 238, 240; portraits 238, 300; and Mrs Roberts 202, 309; tutored by Boner 203–4, 206; at school in Folkestone 206, 239–40, 241–2; interest in drawing 240–41, 311; goes to sea 279–82, 293–4, 309; marriages 309; children 309; friction with sisters 310–11; denounces Constable pictures as fakes 311; and his brothers’ artistic talents 311–12; approves of Leslie’s Life 313; on The Cornfield 170–71
Constable, Emily (‘Emma’; daughter) 162–3, 173, 202, 203, 225, 246, 282, 284, 293, 310
Constable, George (friend) 228, 241, 253, 257, 297, 316; Constable to 249–50, 276, 282, 290, 293
Constable, Golding (father) 2; marriage 2–3; business 6, 11, 73; and Constable’s future 4, 8; and Constable’s artistic career 10, 15, 17, 19–20, 28, 29, 34, 42, 43; ill health 52, 56; repairs Dedham Mill 47; saves employee from press gang 52; sends Constable advice and cash 57; worried by criticism of Constable’s work 59; approves of his portrait work 60; further illness 74; makes a will 76; portrait (1815) 78; toasts Constable’s health 78; given private view of Wheat Field 85; illness and death 85–6
Constable, Golding (brother) 3, 5, 9, 25, 36, 82, 103–4, 147, 180, 284, 303, 308; Constable’s letters to 151, 180, 189, 198, 199
Constable, Hugh Golding (grandson) 311
Constable, Isabel (daughter) 136, 153, 154, 173, 203, 222, 225, 284, 293, 311, 317
Constable, John
1776–1810 birth and christening 2; childhood 4–5; schooling 1, 3–4, 8, 203, 282; works in family business 8–10, 15; early illustrations 9; adolescence 10, 11; on painting expeditions with John Dunthorne (q.v.) 10–11; and his mother’s contacts 11–12; introduced to Sir George Beaumont and Claude (qq.v.) 12–13; early landscape 13; early influences and mentors 13–17, 19; introduced to Farington (q.v.) 17; becomes Probationer at Royal Academy 18, see under Royal Academy; relationship with Reinagle 18, 19, 21, 27; summer in East Bergholt 19–20; first year as Royal Academy student 21–5; paints at Helmingham Park 25–6; sees Maria Bicknell 26, 26–7; stays with sister and family 28; on Peak District sketching tour 28; at anatomy lectures 28–9; picture accepted for 1802 Academy exhibition 29 (for subsequent exhibition entries see Royal Academy: Exhibitions); advised against accepting post as drawing master 29; determined to study nature 30; suffers from neuralgia and toothache 30; voyage on the Coutts 32–3; critical of Academy art 33–4; sketches on Orwell River 34; paints portraits of villagers 34–5, and altarpieces 36; supported by relatives 36–7; success as portraitist 37, 38, 39; tours Lake District 37–40; friendships with Wilkie, Haydon and Jackson 40, 45–6; puts name in for Academy elections 40, 42, see under Royal Academy; support and criticism from his uncle 42–3; short of money 43; avoids military service 44; plein-air painting in Suffolk 44; stays with connections and relations 46–7; romance blossoms with Maria Bicknell 74–8; ‘finds himself’ as a paint
er 48
1810–19 and ups and downs of courtship 49, 51, 54–8, 60–3, 64; copies watercolour of East Bergholt church for Dr Rhudde 51; paints at Bergholt ‘from nature’ 52–3; receives advice from uncle on 35th birthday 53–4; gets to know John Fisher (q.v.) 54; landscapes gaining approval 59; continued popularity as portrait painter 59–60; fondness for Johnny Dunthorne (q.v.) 60; and Charlotte Street fire 64–5; dinner with Turner (q.v.) 65–6; walks with Stothard 66; at British Institution banquet 66; finally free of debt 67; courtship continues 67–8, 69, 70–72; unintentionally offends Maria’s father 70; delights in Thames estuary 71; paints in East Bergholt 72–3; back in London 74; more frequent meetings with Maria 74; and mother’s death 75–6; and cousin’s death at Waterloo 77; hard at work in London 77, and East Bergholt 79–80; worries about Maria’s health and about money 81; and land enclosure at East Bergholt 82; breakdown of friendship with Dunthorne 83; offends Dr Rhudde 83–4; makes up mind to marry without further delay 84, 87; and father’s death and his inheritance 85–6; pre-wedding nerves 88; wedding 89–91; on honeymoon with the Fishers 92–4; back in Charlotte Street with Maria 94; apologises to her father but makes no progress with Dr Rhudde 94–5, 105; hunts for new home 96; with Maria in East Bergholt 98–100; dinner at Farington’s 101; and birth of first child 101; begins to think of pictures on a larger scale 101; sells landscapes 102; busy with portraits 102–3; elected to directorship of AGBI 103; sells The White Horse 107; inherits from Dr Rhudde 108; and second child 108
1819–25 a ‘change of air’ in Hampstead 108–9; autumn in Flatford 109–10; finally elected Associate member 110–11; inherits from aunt 115; at George IV’s birthday dinner 117; takes Maria and children to Fishers’ 117–18; on sketching trips with John Fisher 118–19; reads White’s History of Selborne 119–20; and birth of third child 120; gets Johnny Dunthorne to draw wagon for The Hay Wain 121; in Suffolk at Easter (1821) 121; and French interest in The Hay Wain 122–3; money problems 123; with Maria on Hampstead Heath 123; commissioned to paint Manningtree church altarpiece 123, 134, 136; joins Fisher in Salisbury 124; draws boats for Fisher 125; ‘skying’ on Hampstead Heath 125–8, 130–32; buys Farington’s house in Charlotte Street 133–4; in court as witness against neighbouring bawdy house 134; and agricultural distress in Suffolk 135; and birth of fourth child 136–7; depressed and run-down 137–8; in trouble for repeating gossip 138; health and mood improve 139–40; stays in Southgate with Judkin 140; has ‘great row’ with Turner and Collins 140; visits Fisher 140–41; makes trip to Fonthill 141–2; looks after Fisher’s dog 142; calls on niece 142–3; stays with Beaumont at Coleorton Hall 142, 143–5, 146; suffers from neuralgia 145; worries about Maria’s health 145; recommends brother to Countess of Lysart 147; sells pictures 149–50; cheered by Johnny Dunthorne’s help and companionship 151–2; paintings successful in France 152–3, 159–60; sends Maria and children to Brighton 153, 154–6; leads split existence 153, 154; writes journal for Maria 154, 155–6, 165–6; suffers stomach pains 155–6; in Brighton 157–9; awarded gold medal by Charles X 160, 164