Frasi di John Constable (72 frasi) | Citazioni e frasi celebri

John Constable: 72 frasi 5 Mi piace

John Constable frasi celebri

“Dovrei rispettare me stesso per i miei amici, e i miei bambini. È tempo, a 56 anni, di iniziare, come minimo, a conoscere se stessi, — ed io faccio conoscere ciò che non sono, e il tuo rispetto mi ha ridestato almeno a credere nella possibilità che potrei fare ancora qualche impressione con la mia "luce" — le mie "rugiade" — le mie "brezze"”

John Constable

i miei fiori e le freschezze, — nessuna di queste qualità è stata ancora perfezionata sulle tele di nessun pittore al mondo.
Origine: Lettera a C.R. Leslie (marzo 1833), The Letters of John Constable, R.A. to C. R. Leslie, R.A. 1826-1837 (Constable & Co., 1931), p. 104.

“C'è abbastanza spazio per una pittura naturale. Il grande vizio dei nostri giorni è l'ostenzione, un tentativo di fare qualcosa oltre il vero. Nel tentativo di fare qualcosa più che bene, fanno in realtà ciò che non è buono affatto. L'usanza sempre ebbe, e avrà, il suo giorno — ma il vero (in tutte le cose) verrà per ultimo, e può avere soltanto rivendicazione nella posterità.”

John Constable

Origine: Lettera a John Dunthorne (29 maggio 1802), di John Constable's Correspondence, part 2, pp. 31-32

“Non mi considero al lavoro senza prima trovarmi davanti a una tela di sei piedi.”

John Constable

Origine: Lettera al Rev. John Fisher (23 ottobre 1821) di John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), part 6, pp. 76-78.

“La pittura è una scienza e andrebbe perseguita come un'indagine secondo le leggi della natura. Perché, dunque, non potrebbe un paesaggio essere considerato come una branca della filosofia della natura, i cui dipinti non sono altro che esperimenti?”

John Constable

Origine: "The History of Landscape Painting," quarta lettura, Royal Institution (1836-06-16), di John Constable's Discourses, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1970), p. 69.

“La nostra mente può essere elevata, portandoci verso l'eccellente, tramite le opere dei Grandi Maestri — la testa della fontana è ancora Natura, la sorgente da dove tutto deve nascere — e un artista che continuerebbe la sua pratica senza riferimenti alla natura, deve presto formare una maniera, ed essere ridotto alla stessa deplorabile situazione come il pittore francese menzionato da Sir J. Reynolds, che gli disse di avere già da tempo cessato di cercare nella natura che lo avrebbe distratto.
Negli ultimi due anni sono stato indaffarato con la pittura, cercando la verità di seconda mano. Non ho tentato di rappresentare la natura con la stessa elevazione della mente — ma nemmeno tentato di fare le mie mie cose come fossero realmente eseguite da altri.
Sono arrivato alla determinazione di non fare nessuna noiosa visita questa estate, ne buttare il mio tempo nei banali rapporti con la gente. Ritornerò a Bergholt, dove farò qualche laborioso studio dalla natura — e cercherò di ottenere una pura e sincera maniera di rappresentare le scene che possano interessarmi.”

John Constable

Origine: Lettera a John Dunthorne (29 maggio 1802), di John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), part 2, pp. 31-32.

“Il cielo è la "sorgente di luce" nella Natura — e governa ogni cosa. Anche le nostre comuni osservazioni sul tempo di ogni giorno, sono suggerite da loro ma non capita a noi. La loro difficoltà a dipingerele sia come composizione che esecuzione è molto grande, perché con tutta la loro brillantezza e complicanza, non dovrebbero sopravanzare o essere intensamente pensate in una pittura — sono più che distanze estreme.”

John Constable

Origine: Lettera al Rev. John Fisher (23 ottobre 1821), di John Constable's Correspondence, part 6, pp. 76-78

Frasi sulla pittura di John Constable

“Dipingerei ancora meglio i miei luoghi; Per me la pittura non è che un altro modo per dire feeling, e associo "la mia spensierata fanciullezza" a tutto ciò che giace sulle sponde dello Stour; queste scene fanno di me un pittore, e io ne sono grato; vale a dire, che li ho spesso immaginati dipinti prima ancora che io toccassi una matita.”

John Constable

Origine: Lettera a Rev. John Fisher (23 ottobre 1821), di John Constable's Correspondence, part 6, pp. 76-78

“Uno schizzo (di una pittura) servirà solo ad esprimere uno stato mentale e non a bere sempre più — in uno schizzo non c'è nient'altro che uno stato mentale — di come si era in quel tempo.”

John Constable

Origine: Lettera al Rev. John Fisher (02 novembre 1823), di John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), part 6, pp. 142-143.

“Sono ansioso che il mondo sia proteso a cercare nei pittori informazioni riguardo ai loro dipinti. Spero di dimostrare che la pittura sia una professione regolarmente insegnata; che è scientifica come pure poetica; che l'immaginazione da sola mai e poi mai potrà produrre lavori che possano reggere a confronto con la realtà.”

John Constable

Origine: "The History of Landscape Painting," first lecture, Royal Institution (26 maggio 1836), dalle annotazioni prese da C.R. Leslie.

John Constable Frasi e Citazioni

“So molto bene cosa sono, e che i miei cieli non sono stati trascurati, sebbene spesso lo siano nell'esecuzione — e di frequente, non c'è dubbio, per una grande ansietà che essi comportano — che verranno a distruggere soltanto quella facile apparenza che sempre possiede la natura — in tutti i suoi movimenti.”

John Constable

Origine: Lettera al Rev. John Fisher (23 ottobre 1821), di John Constable's Correspondence, part 6, pp. 76-78.

Sull'età , Natura

“Il suono dell'acqua che scorre tra gli argini del mulino, ecc., salici, vecchie tavole marce, pali fangosi, e fabbriche di mattoni, Io amo queste cose. Shakespeare potrebbe fare di ogni cosa poesia; Egli ci racconta dei fantasmni del povero Tom tra "ovili e mulini."
Per quanto a lungo possa io ancora dipingere, mai cesserò di dipingere questi luoghi. Sono stati sempre la mia delizia.”

John Constable

acqua

“Che triste cosa è ciò che questa graziosa arte — strappata così alla sua distruzione — solo usa accecare i nostri occhi e sensi negandoci il sole che splende, i campi e gli alberi in fiore, e sentire il fruscio delle foglie — e vecchi anneriti strofinacci sporchi di pezzetti di tele, prendere il posto delle opere vere di Dio.”

John Constable

Origine: Lettera a C.R. Leslie (13 febbraio 1833), di John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), part 3, p. 94

Sull'arte , Sull'istruzione , Albero , Sole

“Le mie tele mi calmano facendomi dimenticare le scene di inquietudine e follia — e peggio — la scena che mi circonda. Ogni sprazzo di sole è per me alla fine nell'arte appassito. Perciò ci si può chiedere perché dipingo sempre tempeste. "Tempesta sopra tempesta sovrasta"”

John Constable

ancora l'"oscurità" è maestosa.
Origine: Lettera a C.R. Leslie (1834), John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), vol. 3, p. 122; anche citata da Hugh Honour, Romanticism (Westview Press, 1979, ISBN 0-064-30089-7), ch. 3, p. 91.

Sull'arte , Follia , Sole

“Non vediamo nessuna cosa veramente fino a che non la capiamo.”

John Constable

“Il tentativo di rivivere gli stili che sono esistiti nelle età passate, può a volte sembrare che abbia successo, ma l'esperienza puà ora insegnarci sicuramente la loro impossibilità. Potrei indossare gli abiti di Claude Lorraine e passeggiare così per le strade, e le tante persone che conoscono Claude non farebbero altro che togliersi il cappello gentilmente di fronte a me, però infine mi scontrerei con qualcuno, che conoscendo molto meglio Claude, mi tratterebbe col disprezzo che merito.
Così succede in tutte le belle arti. Una nuova costruzione gotica, o un nuovo messale, diventa in realtà assurdo quasi quanto una nuova rovina.”

John Constable

Origine: Lecture, Literary and Scientific Institution, Hampstead, (25 luglio 1836), dalle annotazioni prese da C.R. Leslie.

Sull'età , Sulle persone , Passato , Successo

“La prima impressione spontanea è, che le belle arti siano sorte o tramontate proporzionalmente a come il mecenatismo sia stato dato o tolto a loro, ma è evidente che spesso il denaro viene loro più prodigato nei periodi peggiori che in quelli migliori, e che i più alti onori siano frequentemente concessi agli artisti i cui nomi sono ora scarsamente conosciuti.”

John Constable

Origine: Lecture, Literary and Scientific Institution, Hampstead, (25 luglio 1836), dalle annotazioni prese da C.R. Leslie.

Sul denaro

“Il colmo dell'assurdità nella quale l'arte può essere portata, quando la maniera spazza via la natura, potrebbe essere vista meglio nei lavori di Boucher… I suoi paesaggi, di cui era evidentemente appassionato, sono pastorali; e che pastoralità! la pastorale della casa dell'Opera.”

John Constable

Origine: Notes of Six Lectures on Landscape Painting (1836), da C.R. Leslie, Memoirs of the Life of John Constable (1843), p. 343.

Sull'arte , Natura , Casa

“Il mondo è vasto; non ci sono due giorni uguali, neanche due ore; nemmeno ci furono mai due foglie di albero simili fin dal tempo dalla creazione del mondo.”

John Constable

Origine: C. R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843) (Phaidon, London, 1951) p. 273.

Sul mondo , Albero , Tempo

“[rispondendo "a una signora che, guardando un incisione di una casa, la definì una brutta cosa] Non c'è niente che sia brutto; non ho mai visto una cosa brutta in tutta la mia vita: bisogna lasciare le forme di un oggetto come esse possono, — luce, ombra, e prospettiva lo renderanno sempre bello. *Non vediamo nessuna cosa veramente fino a che non la capiamo.”

John Constable

Origine: C. R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843), (Phaidon, London, 1951), p. 280.
Origine: "The History of Landscape Painting," terza lettura, Royal Institution (09 giugno 1836)

Sulla vita , Luce , Casa

John Constable: Frasi in inglese

“The world is wide; no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world.”

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John Constable

Quoted in C.R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843) (Phaidon, London, 1951) p. 273
posthumous, undated

“My art flatters nobody by imitation, it courts nobody by smoothness, nobody by petitelieness without either fal-de-lal or fiddle-de-dee; how then can I hope to be popular?”

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John Constable

Quote from John Constable's letter to Mr. C.R. Leslie 22 June 1832
1830s

“The first impression and a natural one is, that the fine arts have risen or declined in proportion as patronage has been given to them or withdrawn, but it will be found that there has often been more money lavished on them in their worst periods than in their best, and that the highest honours have frequently been bestowed on artists whose names are scarcely now known.”

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John Constable

Lecture, Literary and Scientific Institution, Hampstead, (25 July 1836), from notes taken by C.R. Leslie
1830s, his lectures History of Landscape Painting (1836)

“Our little drawing Room [Constable's lodgings at Hamptstead with a view on London] commands a view unequalled in Europe — from Westminster Abbey to Gravesend — the dome of St Paul's in the Air — realizes Michael Angelo's Idea on seeing that of the Pantheon — 'I will build such a thing in the Sky.”

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John Constable

Letter to Rev. John Fisher (26 August 1827); as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 473
1820s

“I am glad you encouraged me with the 'Stoke' [his painting 'Stoke-by-Nayland', circa 1835] What say you to a summer morning? July or August, at eight or nine o’clock, after a slight shower during the night, to enhance the dews in the shadowed part of the picture, under 'Hedge row elms and hillocks green.' Then the plough, cart, horse, gate, cows, donkey, &c. are all good paintable material for the foreground, and the size of the canvas sufficient to try one's strength, and keep one at full collar.”

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John Constable

Letter to William Purton (6 February 1836), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 380
1830s

“It is much to my advantage that several of my pictures should be seen together, as it displays to advantage their varieties of conception and also of execution, and what they gain by the mellowing hand of time which should never be forced or anticipated. Thus my pictures when first coming forth have a comparative harshness which at the time acts to my disadvantage.”

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John Constable

Quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 516
posthumous, undated

“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. Sir Joshua Reynolds speaking of the "Landscape" of Titian & Salvator & Claude says 'Even their skies seem to sympathise with the Subject.' I have often been advised to consider my sky as a 'hite Sheet thrown behind the Objects'. Certainly, if the sky is 'obtrusive,' (as mine are) it is bad, but if they are 'evaded' (as mine are not) it is worse, they must and always shall with me make an effectual part of the composition. 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.'”

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John Constable

You may conceive, then, what a "white sheet" would do for me, impressed as I am with these notions.
Letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

“The sky is the 'source of light' in nature, and governs every thing. Even our common observations on the weather of every day, are suggested by them, but it does not occur to us. Their difficulty in painting both as to composition and execution is very great, because, with all their brilliancy and consequence, they ought not to come forward, or be hardly thought about in a picture… I know very well what I am about, and that my skies have not been neglected, though they have often failed in execution, no doubt, from an over-anxiety about them, which will alone destroy that easy appearance which nature always has in all her movements.”

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John Constable

Letter to Rev. John Fisher (23 October 1821), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 229 and also in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

“I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can… but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done – I think however my mind is more settled and determined than ever on this point.”

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John Constable

Quote in his letter to John Dunthorne (14 February 1814), as quoted in Constable (Tate Gallery Publications, London, 1993), p. 151
1800s - 1810s

“There is nothing ugly; I never saw an ugly thing in my life: for let the form of an object be what it may, — light, shade, and perspective will always make it beautiful.”

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John Constable

Quoted in C.R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843), (Phaidon, London, 1951), p. 280
Reply "to a lady who, looking at an engraving of a house, called it an ugly thing"
posthumous, undated

“How sweet and beautifull is every place & I visit my old Haunts with renewed delight… nothing can exceed the beautiful green of the meadows which are beginning to fill with butter Cups — & various flowers — the birds are singing from morning till night but most of all the Sky larks — How delightfull is the Country.”

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John Constable

Letter to his wife, Maria Bicknell (20 April 1821); as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 28
1820s

“My picture [A Boat Passing a Lock, 1823-6] is liked at the [Royal] Academy, indeed it forms a decided feature and its light can not be put out. Because it is the light of nature — the Mother of all that is valuable in poetry — painting or anything else… my execution annoys most of them and all the scholastic ones – perhaps the scarifies I make for 'lightness' and 'brightness' is too much but these things are the essence of Landscape.”

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John Constable

Letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 288
1820s

“This appearance of the Evening was… just after a very heavy rain — more rain in the night and very — [? light] wind which continued all the — day following while making – this sketch observed the Moon easing – very beautifully… [in the] due East over the — heavy clouds from which the late showers – had fallen.”

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John Constable

Inscription: 12 September, 1821, written on the back of 'Hampstead Heath, Sun setting over Harrow,' his sketch in oil on paper; as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London. 1993), p. 221
1820s

“The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period.”

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John Constable

quote from his exhibition-text of 1836; as quoted in: Ronald Parkinson: John Constable: The Man and His Art, V&A, London, 1998 (ISBN: 1-85177-243-X), p. 89 (taken from Wikipedia)
When Constable exhibited his watercolor 'Stonehenge' (he painted in 1835) one year later, he appended this short text to the title of his famous watercolor
1830s

“I ought to respect myself for my friends' sake, and my children's. It is time, at fifty-six, to begin, at least, to know oneself, — and I do know what I am not, and your regard for me has at least awakened me to believe in the possibility that I may yet make some impression with my "light" — my "dews" — my "breezes" — my bloom and freshness, — no one of which qualities has yet been perfected on the canvas of any painter in the world.”

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John Constable

Quote from John Constable's letter to C.R. Leslie (March 1833), from The Letters of John Constable, R.A. to C. R. Leslie, R.A. 1826-1837 (Constable & Co., 1931), p. 104
1830s

“A sketch will not serve more than one state of mind & will not serve to drink at again & again — in a sketch there is nothing but the one state of mind — that which you were in at the time.”

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John Constable

Letter to Rev. John Fisher (3 November 1823), from John Constable's Correspondence, ed. R.B. Beckett (Ipswich, Suffolk Records Society, 1962-1970), part 6, pp. 142-143
1820s

“Many of my Hamptstead friends may remember this 'young lady' [an ash tree] at the entrance to the village. Her fate was distressing, for it is scarcely too much to say that she died of a broken heart. I made this drawing [Study of Trees, pencil on paper, circa 1821] when she was in full health and beauty; on passing some times afterwards, I saw, to my grief, that a wretched board had been nailed to her side, on which was written in large letters: 'All vagrants and beggars will be dealt with according to law.' The tree seemed to have felt the disgrace, for even then some of the top branches had withered. Two long spike nails had been driven far into her side. In another year one half became paralysed, and not long after the other shared the same fate, and this beautiful creature was cut down to a stump, just high enough to hold the board.”

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John Constable

Quote from Constable's Lecture, given at Hamptstead (July 1836), as quoted in Leslie Parris and Ian Fleming-Williams, Constable, Tate Gallery Publications, London 1993, p. 391
1830s, his lectures History of Landscape Painting (1836)

“My friend Bonner has just set off to Charlotte Street to pack your picture (an old painting) and forward it; it is a beautiful representation of a summer's evening; calm, warm and delicious; the colour on the man's face is perfect sunshine. The liquid pencil of this school is replete with a beauty peculiar to itself. Nevertheless, I don't believe they had any 'nostrums,' but plain linseed oil; 'honest linseed' as old Wilson called it. But it is always right to remember that the ordinary painters of that day used, as now, the same vehicle as their betters, and also that their works have all received the hardening and enamelling effects of time, so that we must not judge of originality by these signs always.”

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John Constable

Quote from John Constable's letter to Rev. John Fisher (20 December 1833), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), pp. 45-46
1830s

“I am anxious that the world should be inclined to look to painters for information about painting. I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities;; and to show, by tracing the connecting links in the history of landscape painting, that no great painter was ever self-taught.”

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John Constable

Quote from 'The History of Landscape Painting,' first lecture, Royal Institution (26 May 1836), from notes taken by C.R. Leslie
1830s, his lectures History of Landscape Painting (1836)

“England, with her climate of more than vernal freshness, and in whose summer skies, and rich autumnal clouds, the observer of Nature may daily watch her endless varieties of effect.... to one brief moment caught [by the artist] from fleeting time..”

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John Constable

Quote from Constable's Introduction of the 1833 edition of English landscape scenery, as cited in Constable's English Landscape Scenery, Andrew Wilton, British Museum Prints and Drawings Series, 1979; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368
Constable expressed - in his Introduction to the 1833 edition of English landscape scenery - similar sentiments as contemporary landscape-painter Turner, according to Andrew Wilton
1830s

“I know very well what I am about, & that my skies have not been neglected, though they often failed in execution — and often, no doubt, from an over-anxiety about them — which will alone destroy that easy appearance which nature always has — in all her movements.”

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John Constable

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

“They [French critics of the Paris Salon of 1824, where his painting 'the Hay Wain' received a gold medal] are very amusing and acute — but very shallow and feeble. Thus one — after saying: "'it is but justice to admire the truth — 'the color' — and 'general vivacity' & richness —" – yet they want the objects more formed and defined &c, and say they are like the rich preludes in musick, and the full harmonious warblings of the Aeolian lyre, which means 'nothing,' and they call them orations — and harangues — and high-flown conversations affecting a careless ease — &c &v &c - Is not some of this 'blame' the highest 'praise' – what is poetry?”

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John Constable

What is Coleridge's Ancient Mariner (the very best modern poem) but something like this?
Quote from John Constable's letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable, (Tate Gallery Publications, London, 1993), p. 205
1820s

“We see nothing truly till we understand it.”

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John Constable

Quote from 'The History of Landscape Painting,' third lecture, Royal Institution (9 June 1836)
1830s, his lectures History of Landscape Painting (1836)

“But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight.”

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John Constable

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

“The climax of absurdity to which the art may be carried, when led away from nature by fashion, may be best seen in the works of Boucher… His landscape, of which he was evidently fond, is pastoral; and such pastorality! the pastoral of the Opera house.”

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John Constable

Notes of Six Lectures on Landscape Painting (1836), C.R. Leslie, Memoirs of the Life of John Constable (1843), p. 343
1830s, his lectures History of Landscape Painting (1836)

“My observations on clouds and skies are on scraps and bits of paper, and I have never yet put them together so as to form a lecture, which I shall do.... next summer.”

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John Constable

1836
Quoted in Leslie Parris and Ian Fleming-Williams, Constable, (Tate Gallery Publications, London, 1993), p. 37
1830s

“I have likewise made many 'skies' and effects — for I wish it could be said of me as Fuselli says of Rembrandt, 'he followed nature in her calmest abodes and could pluck a flower on every hedge — yet he was born to cast a steadfast eye on the bolder phenomena of nature'… We have had noble clouds & effects of light & dark & color.”

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John Constable

Quote from a letter to Rev. John Fisher in 1821 on his oil-sketches of stormy weather, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London 1993), p. 222
1820s

“My canvas soothes me into forgetfulness of the scene of turmoil and folly — and worse — of the scene around me. Every gleam of sunshine is blighted to me in the art at least. Can it therefore be wondered at that I paint continual storms? "Tempest o'er tempest roll'd"”

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John Constable

still the "darkness" is majestic.
Letter to C.R. Leslie (1834), John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), vol. 3, p. 122; also quoted in Hugh Honour, Romanticism (Westview Press, 1979, ISBN 0-064-30089-7, ch. 3, p. 91
1830s