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Creator:
John Constable, 1776–1837, British
Title:

Golding Constable's House, East Bergholt: the Artist's birthplace

Former Title(s):

Landscape with Village and Trees

East Bergholt House

Date:
ca. 1809
Medium:
Oil on canvas
Dimensions:
Support (PTG): 5 3/4 x 10 inches (14.6 x 25.4 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B2001.2.105
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
brushstrokes | buildings | clouds | dwelling | house | landscape | path | road | Romantic | rural | trees | village | wall
Associated Places:
East Bergholt | England | Europe | Suffolk | United Kingdom
Access:
Not on view
Link:
https://collections.britishart.yale.edu/catalog/tms:38533
Export:
XML
IIIF Manifest:
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Constable’s father was a prosperous corn merchant and owned water mills in the Stour Valley at Flatford, Dedham, and East Bergholt, close to the large family house over which he presided, the rear view of which this sketch records. If Constable had extended this composition further to the left, he could have included the parish church of East Bergholt, which was located close to his father’s home.

Gallery label for An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29)
The substantial house in this picture belonged to John Constable’s father, a prosperous corn merchant who also owned watermills in the low-lying Stour Valley in the East Anglian countryside. This characteristic little oil sketch by Constable reveals how far British landscape composition had come as a result of Wilson’s pioneering exploration of its possibilities. The apparent informality of the picture belies the strength of its underlying structure and tonal control, both features that Wilson had brought to bear on such ostensibly unpromising subject matter as Hounslow Heath (cat. 140) or “country house portraits” like Tabley House (cat. 139). The oil sketch, as adapted by Wilson’s pupil Thomas Jones to capture a swift impression such as this (see, for example, cat. 145), owed much to Wilson’s habit of jotting down in his sketchbooks promising fragments of the view before him.

Robin Simon

Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, p. 328, Cat. No. 160, NJ18.W72 R53 2014 OVERSIZE (YCBA)



Constable's father was a prosperous corn merchant and owned water mills in the Stour Valley at Flatford, Dedham, and East Bergholt, close to the large family house over which he presided, the rear view of which this sketch records. (The stand of trees and the lone poplar, on the right, and the sprightly little cupola make it clear that we are looking at the back of the house.) The church of East Bergholt (see cat. 96) would be visible here if the margin of the present composition were extended farther to the left. Constable in fact produced at least one other view of his birthplace in which he included the church, thereby gathering into the composition the symbolic presence of the two crucial components of the rural polity.-.the rector and the squire. As well, Constable painted views from the rear windows of East Bergholt House, in effect directing his gaze back out toward the ground from which this and related views of the back of the house were taken.

Angus Trumble

John Baskett, Paul Mellon's legacy: a passion for British art : masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, p. 287, no. 95, pl. 95, N5220 M552 P38 2007 OVERSIZE (YCBA)

John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, p. 287, no. 95, pl. 95, N5220 M552 P38 2007 OVERSIZE (YCBA)

Constable, Portfolio, vol. no. 4, 1873, pp. 93-4, J10 P835+ (LSF)

Robert Hoozee, L'opera completa di Constable, 98, Rizzoli, Milano, Italy, 1979, p. 96, no. 91, NJ18 C74 A12 +H66 (YCBA)

Leslie Parris, The Tate Gallery Constable collection, a catalogue , Tate Britain, London, UK, 1981, p. 44-47, fig. 2, NJ18 C74 P374 + (YCBA)

Paul Mellon's Legacy, a passion for British art. [large print labels] , Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)

Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, p. 328, Cat. No. 160, NJ18.W72 R53 2014 OVERSIZE (YCBA)

Graham Reynolds, The early paintings and drawings of John Constable, The Paul Mellon Centre for Studies in British Art, New Haven, 1996, p. 149 (v. 1), no. 10.30, Pl. 859 [v.2], NJ18 C74 R484 1996 + (YCBA)

Malcolm Warner, The Paul Mellon Bequest : treasures of a lifetime, , Yale Center for British Art, New Haven, CT, 2001, p. 29, N5247 M385 P28 2001 (YCBA)


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