John Constable, 1828 - Branch Hill Pond, Hampstead - konsttryck

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Det mer än 190 år gamla konstverket målades av Brittiska konstnär John Constable. Det över 190 year old original version had the following size Inramad: 89 x 105,5 x 11,5 cm (35 1/16 x 41 9/16 x 4 1/2 tum); Oinramad: 60,6 x 78,1 cm (23 7/8 x 30 3/4 tum) and was manufactured with the medium oil on canvas. The artwork is in the the Cleveland Museum of Art's collection, which is one of the leading museums worldwide that builds, preserves, studies, and shares its outstanding collections of art from all periods and parts of the world, generating new scholarship and understanding, while serving as a social and intellectual hub for its community. The public domain piece of art is included with courtesy of Cleveland Museum of Art. Kreditlinjen för konstverket: Leonard C. Hanna, Jr. Fond. Förutom detta är inriktningen inne liggande format med ett förhållande på 4: 3, meaning that the length is 33% longer than the width. The painter John Constable was an artist, whose art style can be attributed mainly to Romanticism. The Romanticist painter was born in the year 1776 in East Bergholt, Suffolk, England, United Kingdom and passed away at the age of 61 i år 1837.

Originalinformation om konstverket från The Cleveland Museum of Art (© Copyright - av The Cleveland Museum of Art - www.clevelandart.org)

From 1819 to 1826, Constable rented a summer house at Hampstead, a quarrying district on the northern outskirts of London, where he made drawings, oil sketches, and paintings of the surrounding landscape. In this painting, the atmosphere plays a dominant role. The artist meticulously observed and recorded cloud formations, weather conditions, and natural light effects; he believed an accurate rendering of these constantly shifting elements could transmit the vitality and freshness that was so important to his vision of the English countryside. Constable's insistently overcast skies, with rain or the promise of rain, were distinctly British, and his treatment of them is how he distanced himself from the more temperate Italianate landscapes, seen in the golden glow of sky in paintings by Richard Wilson, Thomas Gainsborough, and John Martin that many still considered the ideal of natural beauty.

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