On John Constable as a proto-abstractionist of pastoral landscape One of Britain's greatest landscape painters, John Constable was brought up in Dedham Vale, the valley of the River Stour in Suffolk. The eldest son of a wealthy mill owner, he entered the Royal Academy Schools in 1800 at the age of 24, and thereafter committed himself to painting nature out of doors. His "six-footers," such as The Hay Wainand The Leaping Horse, were designed to promote landscape as a subject and to stand out in the Academy's Annual Exhibition. Despite this, he sold few paintings in his lifetime and was elected a Royal Academician late in his career. With texts by leading authorities on the artist, this handsome book looks at the freedom of Constable's late works and records his enormous contribution to the English landscape tradition. John Constable(1776-1837) is one of Britain's best-known artists, and is often considered one of the greatest landscape painters of all time. He was born near the River Stour in Suffolk, an area the artist depicted so frequently that it is referred to as "Constable country." Pastoral scenes were unfashionable at the time and Constable struggled to establish himself as a painter. He was finally elected a Royal Academician in 1829, and in 1832, he exhibited The Opening of Waterloo Bridge--an effort 13 years in the making--at the Summer Exhibition.

Published to accompany an exhibition held at the Victoria and Albert Museum, London, September 20, 2014-January 11, 2015.

A beautiful, gift-sized volume celebrating Constable’s enduring fascination and engagement with the sky John Constable was one of the supreme painters of the weather, and his depictions of the sky are essential components of all his landscape paintings, from famous works such as The Hay Wain and Salisbury Cathedral from the Meadows to his numerous cloud studies painted on Hampstead Heath, culminating in paintings that are all sky; the landscape beneath is completely absent. In a letter to friend John Fisher, written in 1821, Constable commented, “That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids . . . It will be difficult to name a class of landscape in which the sky is not the key note, the standard of scale, and the chief organ of sentiment.” Written by Mark Evans, a leading authority on the work of John Constable, and brimming with beautiful images, Constable’s Skies captures the artist’s fascination with the sky and brings together his depictions of the English weather from throughout his career. The unprecedented fidelity of Constable’s painted skies is proven by reference to contemporary weather diaries. The book also includes a guide to where to find Constable’s work around the world.

Francis Bacon is considered one of the most important painters of the 20th century. A major exhibition of his paintings at the Royal Academy of Arts in 2020 explores the role of animals in his work - not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle and the erotic lurks not far away: "Bullfighting is like boxing," Bacon once said. "A marvellous aperitif to sex." 0Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication - a significant addition to the literature on Bacon - expert authors discuss Bacon's approach to animals and identify his varied sources of inspiration, which included surrealist literature and the photographs of Eadweard Muybridge. They contend that, by depicting animals in states of vulnerability, anger and unease, Bacon sought to delve into the human condition.00Exhibition: Royal Academy of Arts, London, UK (22.01-12.04.2021).

A fresh and lively biography of the revolutionary landscape painter John Constable. John Constable, who captured the landscapes and skies of southern England in a way never before seen on canvas, is beloved but little-understood artist. His paintings reflect visions of landscape that shocked and perplexed his contemporaries: attentive to detail, spontaneous in gesture, brave in their use of color. His landscapes show that he had sharp local knowledge of the environment. His skyscapes show a clarity of expression rarely seen in other artist's work. The figures within show an understanding of the human tides of his time. And his late paintings of Salisbury Cathedral show a rare ability to transform silent, suppressed passion into paint. Constable was also an active and energetic correspondent. His letters and diaries reveal a man of opinion, passion, and discord. His letters also reveal the lives and circumstances of his extended family who serve to define the social and economic landscape against which he can be most clearly seen. These multifaceted reflections draw a sharp picture of the person, as well as the painter. James Hamilton's biography reveals a complex and troubled man. Hamilton's portrait explodes previous mythologies about this timeless artist and establishes him in his proper context as a giant of European art.