Branch Hill Pond, Hampstead
1828
Illustrative frame preview.
Yale Center for British Art, New HavenOriginal work, 1829
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John Constable — Hadleigh Castle Print
Broken towers rise above a wide landscape under a dramatic, shifting sky. Constable contrasts the ruined masonry and dark foreground with distant water and passages of light across the land.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
$29.00
Delivery to the contiguous US and Washington, DC.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
Broken towers rise above a wide landscape under a dramatic, shifting sky. Constable contrasts the ruined masonry and dark foreground with distant water and passages of light across the land.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- John Constable
- Artwork
- John Constable — Hadleigh Castle Print
- Date of work
- 1829
- Museum collection
- Yale Center for British Art, New Haven
About John Constable
British · 1776–1837
John Constable was born in East Bergholt, Suffolk. The countryside around his home became an enduring source of feeling and subject matter. Largely self-taught in his early development, he entered the Royal Academy Schools around the turn of the century. Dutch landscape painting and the work of Rubens and Claude helped inform his understanding of colour and composition.
Constable made numerous outdoor sketches, using direct observation to prepare larger paintings worked up in the studio. His art brings close attention to weather and the appearance of familiar places. Rather than seeking landscape only as an idealised setting, he gave ordinary fields, ponds and waterways a powerful pictorial presence. The sky became an active part of that experience.
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