John Constable — Branch Hill Pond, Hampstead Print
1828
Illustrative frame preview.
National Gallery of Art, WashingtonOriginal work, 1818–19
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John Constable — The White Horse — Full-Size Study Print
A white horse stands on a boat at the river’s edge beneath a broad, clouded sky. This edition reproduces Constable’s full-size study in the National Gallery of Art, retaining its lively, exploratory brushwork.
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
A white horse stands on a boat at the river’s edge beneath a broad, clouded sky. This edition reproduces Constable’s full-size study in the National Gallery of Art, retaining its lively, exploratory brushwork.
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 — The White Horse — Full-Size Study Print
- Date of work
- 1818–19
- Museum collection
- National Gallery of Art, Washington
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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