Stratford Mill (Constable)

Stratford Mill is an 1820 oil on canvas painting by the British landscape artist John Constable. It is the second painting in the series of ‘six-footers’ depicting working scenes on the River Stour, a series that includes The Hay Wain.[1] The painting is now in the collection of the National Gallery in London.[2]

Stratford Mill
ArtistJohn Constable
Year1820
MediumOil on canvas
Dimensions127 cm × 182.9 cm (50 in × 72.0 in)
LocationNational Gallery, London

Description

The scene is Stratford St. Mary about 2 miles west of East Bergholt.[3] Stratford Mill was a water-powered paper mill, located on a small island just outside the village,[4] it can be seen on the far left of the picture. Constable made a sketch of children fishing by the mill in 1811 now known as Anglers at Stratford Mill (private collection),[5] but this view extends to display more of the river, a barge and the meadow across the way.

History

After the success of his first 'six-footer' The White Horse, Constable abandoned plans to paint his large canvas The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817, in favour of submitting a second Stour series painting.[6] Stratford Mill was exhibited at the Royal Academy exhibition in 1820 and was a success. The Examiner described it as having ‘a more exact look of nature than any picture we have ever seen by an Englishman’.[7] It acquired a buyer in the loyal John Fisher,[8] who purchased the painting for 100 Guineas, a price he himself thought too low. [9] He gifted the painting to his solicitor and friend John Pern Tinney.[10] Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined.[11] In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions.[12] After Tinney’s death David Lucas produced a mezzotint, which was published in 1840 under the name ‘The Young Waltonians’ in reference to the Izaak Walton book, The Compleat Angler.[13]

The full size oil sketch is held by the Yale Center for British Art in New Haven.[14]


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gollark: I like "respect" as "recognizing people as fellow humans who you should maintain some basic standard of niceness with". And "respect" as "admiring people based on achievements". And "respect" as "acknowledge people's opinions on things reasonably" and such. I do *not* like "respect" as "subservience"/"obedience" - the "respect for authority" sense. These are quite hard to define nicely and just get lumped into one overloaded word.
gollark: > I don't really like the term of "respect", because people use it to mean so many different often mutually exclusive things based on convenience then equivocate them in weird ways;
gollark: See, I consider this somewhat, well, worrying, given what I said about "respect" for authority figures being pretty close to "subservience" a lot.
gollark: "i will be respected here." implies EVERYONE, not just staff.

See also

References

Bibliography

  • Bailey, Anthony (2007), John Constable: A Kingdom of His Own, London: Vintage, ISBN 978-1-84413-833-3
  • Beckett, R.B. (1962), John Constable’s Correspondence VI: The Fishers, Woodbridge: Boydell & Brewer Ltd, ISBN 978-0-90071-609-6
  • Johnson, Paul (1991), The Birth of the Modern: World Society 1815-1830, University of Michigan: HarperCollins, ISBN 978-0-06016-574-1
  • Leslie, Charles Robert (1845), Memoirs of the Life of John Constable, Esq., R.A.: Composed Chiefly of His Letters, London: Longman, Brown, Green and Longmans
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