The Hay Wain, Constable and the English countryside

Summary

In the National Gallery, London, Steven and Beth discuss John Constable's 'The Hay Wain,' a radical 1821 landscape painting. Constable's ambitious work challenges traditional art norms, focusing on a mundane scene from his rural upbringing. The painting, with its detailed sky and lack of idealization, reflects the artist's personal connection to nature and the countryside, subtly addressing the economic stresses of the early Industrial Revolution.

Takeaways

• 🖼️ The painting 'The Hay Wain' by John Constable is a six-footer, meaning it is six feet wide, which was an unusual size for landscape paintings in the early 19th century.
• 🗓️ The painting was created in 1821 and originally titled 'Landscape Noon', but is now universally known as 'The Hay Wain'.
• 🌳 Landscape painting was considered a lowly subject by the Royal Academy in London, often depicted on smaller canvases compared to more important subjects like history or religious themes.
• 🏞️ Constable's choice of subject and scale for 'The Hay Wain' was ambitious, depicting a mundane scene from his childhood along the Stour River.
• 🏭 The painting was created during the early Industrial Revolution, a time of economic stress and unemployment, but these issues are not depicted in the painting.
• 🌅 Constable refused to idealize the landscape, instead opting for a more realistic portrayal, which was a departure from the classical and beautiful landscapes expected by the Academy.
• 🎨 The painting shows Constable's influence from Dutch artists like Ruisdael, particularly in the large portion of the canvas dedicated to the sky and the specificity of capturing a time of day.
• 🌬️ Constable had studied meteorology, which is reflected in the detailed depiction of the sky and weather in his paintings.
• 🖌️ The painting has a rough surface, intentionally created by Constable to capture the variety of textures in nature, which was a departure from the smooth finishes preferred by the Academy.
• 🏙️ Despite being a personal and emotional expression of Constable's connection to the landscape, 'The Hay Wain' also reflects a broader historical context, highlighting the changing relationship between people and nature due to industrialization and urban growth.

Q & A

Where is the painting 'The Hay Wain' located?

The painting 'The Hay Wain' is located in the National Gallery in London.

What is the significance of the term 'six-footers' in the context of John Constable's paintings?

The term 'six-footers' refers to a series of paintings by John Constable that are six feet wide, which was an unusual size for landscape paintings in the early 19th century.

What was the original title of the painting now known as 'The Hay Wain'?

The original title of the painting was 'Landscape Noon'.

Why was landscape painting considered a lowly subject in the early 19th century?

Landscape painting was considered a lowly subject because it involved painting something that was right in front of you, similar to painting a portrait, and was not as prestigious as history or religious subjects.

What was the historical context of the painting 'The Hay Wain'?

The painting 'The Hay Wain' was created during the early Industrial Revolution, a time of severe economic stresses, unemployment, and poverty, although these aspects are not depicted in the painting.

What is the significance of the painting's setting in relation to Constable's personal life?

The painting depicts a view of the Stour River, where Constable grew up, making it a deeply personal and familiar landscape to him.

How does Constable's painting style in 'The Hay Wain' differ from the prevailing traditions of the Royal Academy?

Constable's painting style in 'The Hay Wain' is more rough and textured, deliberately capturing the variety of nature, which contrasts with the smooth, finished look preferred by the Royal Academy.

What is the significance of the sky in Constable's painting?

The sky occupies a significant portion of the canvas, reflecting Constable's interest in meteorology and his study of Dutch painting, which emphasized capturing the time of day.

What is the political undercurrent in 'The Hay Wain'?

The painting subtly reflects the social and economic changes of the early Industrial Revolution, although it does not directly depict the poverty or unemployment of the time.

How does Constable's painting 'The Hay Wain' embody the Romantic style?

The painting embodies the Romantic style through its personal and emotional expression, focusing on Constable's intimate connection with the landscape and his rejection of idealization.

What was Constable's approach to painting as described in his quote about his love for certain scenes?

Constable's approach to painting was deeply personal and emotional, as he expressed his love for specific scenes and elements of nature, stating that painting was another word for feeling for him.

Outlines

00:00

🌅 The Radical Scale of Constable's 'The Hay Wain'

In this segment, Steven and Beth discuss John Constable's painting 'The Hay Wain', which is part of a series of large-scale landscape paintings known as the six-footers. The painting, originally titled 'Landscape Noon', is noted for its unconventional size for landscape art of the early 19th century. Painted in 1821, it features a scene from the Stour River, where Constable grew up. The painting is seen as an ambitious work, challenging the traditional hierarchy of subjects in art, where landscape was considered less important. Constable's choice to depict nature on such a grand scale is highlighted, along with the socio-economic context of the early Industrial Revolution, which is subtly reflected in the painting. The conversation also touches on Constable's connection to Dutch painting and his study of meteorology, influencing the painting's focus on the sky and the specific time of day depicted. The painting's rough texture and unfinished look are contrasted with the smooth, polished style prevalent in the Academy, reflecting Constable's desire to capture the natural textures and his personal, emotional connection to the landscape.

05:01

🖼️ The Artistic Composition of 'The Hay Wain'

This paragraph delves into the creation process of 'The Hay Wain', explaining that while it appears to be a snapshot of a river scene, it is actually a carefully composed work in Constable's London studio. The painting is based on oil sketches done outdoors, representing a distillation of Constable's memory and experience. The discussion highlights the artist's intention in creating a work that, while seemingly a direct observation of nature, is deeply rooted in his personal recollections and artistic skills. The segment underscores the importance of the painting's composition, which is not a mere snapshot but a deliberate arrangement of elements to convey a specific mood and message.

Keywords

💡National Gallery

The National Gallery is a renowned art museum in London that houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. In the video, the National Gallery serves as the backdrop for discussing John Constable's painting, emphasizing its significance in the context of British art history.

💡six-footers

The term 'six-footers' refers to a series of paintings by John Constable that are six feet wide. This was an unusual size for landscape paintings in the early 19th century, highlighting Constable's ambition and departure from traditional norms. The script mentions that this size was radical for the subject matter, which was typically reserved for more 'important' subjects like history or religious themes.

💡Landscape Noon

Originally titled 'Landscape Noon,' the painting now known as 'The Hay Wain' is a significant work by Constable. The title 'Noon' is indicative of the time of day depicted in the painting, emphasizing the specificity and realism in Dutch painting traditions that Constable admired.

💡The Hay Wain

'The Hay Wain' is the popular name for Constable's painting, which features a hay wain (a type of cart) moving through the Stour River. The painting is a representation of Constable's personal connection to the landscape and his innovative approach to landscape painting.

💡Royal Academy

The Royal Academy in London is mentioned as the institution that held certain views on the hierarchy of subjects in art. According to the script, landscape painting was considered lowly by the Academy, which influenced the perception of Constable's work and its radical nature.

💡early Industrial Revolution

The early Industrial Revolution is a historical period that Constable's painting indirectly addresses. The script notes that during this time, machines were taking employment away from workers, leading to poverty and economic stress. However, these issues are not depicted in the painting, which instead focuses on the idyllic countryside.

💡Dutch painting

Dutch painting is referenced as an influence on Constable's work, particularly in terms of capturing the specificity of time and the realism in landscape depiction. The script mentions artists like Ruisdael and the importance of the sky in Constable's painting, reflecting his study of meteorology.

💡meteorology

Meteorology, the study of the atmosphere, is mentioned as a subject that Constable had studied. This background influenced his painting, particularly in how he depicted the sky and weather conditions, adding a layer of scientific observation to his artistic expression.

💡Romantic

The term 'Romantic' in the context of the video refers to the Romanticism art style, which emphasizes personal and emotional expression. Constable's painting is described as embodying this style, reflecting his personal connection to the landscape and his emotional response to nature.

💡nostalgia

Nostalgia is a theme in the video that is linked to Constable's painting. The script suggests that there is a sense of longing or reminiscence in the painting, possibly reflecting a time before the rapid changes brought about by industrialization and urban growth.

💡lack of finish

The 'lack of finish' in Constable's painting is mentioned as a point of criticism, contrasting with the smooth, polished style favored by the Academy. Constable's rough surface was a deliberate choice to capture the textures of nature, reflecting his innovative approach to painting.

Highlights

John Constable's six-footers are a series of paintings six feet wide, an unusual size for landscape paintings in the early 19th century.

The original title of the painting was Landscape Noon, but it is now known as The Hay Wain.

Constable's choice of nature as the subject at this scale was considered radical at the time.

Landscape painting was considered a lowly subject by the Royal Academy, compared to more important history or religious subjects.

Constable's ambition in painting a mundane subject on a large canvas was unconventional.

The painting depicts a view of the Stour River, a hay wain, and everyday rural activities.

Constable's father was a landowner, and the painting reflects a time of economic stress and unemployment in the countryside.

The early Industrial Revolution and the perceived threat of machines taking employment away is not depicted in the painting.

Constable refuses to idealize the landscape, contrasting with the classical and beautiful landscapes expected by the Academy.

Constable's art historical influences include the Dutch painter Ruisdael, noted for capturing the time of day.

The painting's title, Noon, and its specificity in capturing a time of day is a departure from the idealizing tradition.

Constable's painting subtly reflects the political undercurrent of the time without showing the workers' faces.

The farmers in the background blend into nature, avoiding a sense of the landscape being fraught.

Constable's painting is a new kind of beauty, finding beauty in the most lowly and personal experiences.

Constable's personal connection to the landscape is evident in his quote about loving the sounds and sights of the countryside.

The painting is both a personal, subjective experience and fixed in a historical moment due to industrialization.

The painting evokes nostalgia, reflecting a time when nature was becoming more removed from everyday experiences.

Constable's six-footers were well received, but criticized for their lack of finish, contrasting with the smooth painting traditions of the Academy.

Constable deliberately created a rough surface to capture the variety of textures in nature.

The painting's composition is traditional, leading the viewer from the lower right to the left and then up into the clouds.

The painting is a carefully composed fiction, created in Constable's studio from oil sketches and his memory.

Transcripts

(soft piano music)

- [Steven] We're in the National Gallery in London

looking at one of John Constable's six-footers.

- [Beth] The six-footers are a series of paintings

that are six feet wide and this was an unusual size

for landscape paintings in the early 19th century.

The date of his painting is 1821.

- [Steven] The original title was Landscape Noon,

but it's now known universally as The Hay Wain,

and I think it's hard for us to retrieve

how radical it was to put forward

as your subject at this scale, nature.

- [Beth] Landscape painting was one

of the lowliest subjects according

to the Royal Academy here in London

because it was the idea of painting something

that was right in front of you.

Just like painting a portrait

of something right in front of you.

- [Steven] So important history subjects,

religious subjects, they were often quite large,

and less important subjects,

landscape, still lifes they were painted

on smaller canvases.

- [Beth] So Constable is being ambitious here,

which might seem funny because

the subject seems so very mundane.

What we're looking at is a view of the Stour River

where Constable grew up and a hay wain,

a cart moving through that river

with a woman in the background doing some washing,

a dog barking, some farmers working in the field

in the background, the clouds passing in the sky at noon.

- [Steven] So what is Constable heroicizing

with the scale of this canvas?

- [Beth] Constable's father was a landowner

and Constable came from a well-to-do family

in rural Suffolk in England.

This is a moment when the land

in the countryside is fraught.

When they're at very severe economic stresses

and unemployment among the workers.

- [Steven] In the early Industrial Revolution,

machines were perceived to be taking employment away.

There was great poverty, but we see none of that here.

- [Beth] Landscapes are expected to be classical

and beautiful to show us something idealized,

but Constable is refusing to idealize here.

- [Steven] If Constable is looking back to any art history,

he's looking back to the Dutch, to artists like Ruisdael.

Look at the amount of this canvas

that's given over to the sky.

Constable had studied meteorology which was a new subject.

- [Beth] And that specificity of Dutch painting,

capturing a time of day.

The title of this painting is Noon.

Specifics that are very much opposite

of the idealizing tradition

that was recommended by the Academy.

- [Steven] And in that way there is

a subtle political undercurrent, however,

we're not close to the workers,

we don't actually see their faces.

- [Beth] The farmers in the background

have become one with nature.

There's no sense of the landscape

of nature being something that's fraught at this moment.

- [Steven] The artist was creating a new kind of beauty.

Finding beauty even in the most lowly.

That was an expression of his personal experience.

- [Beth] And I think that's what makes this romantic

when we talk about the style of Romanticism in England,

we're thinking about a kind of art

that is personal, that is emotional.

And we have this lovely quote from Constable about this.

He said, writing to a friend,

the sound of water escaping from mill dams,

willows, old rotten planks, slimy posts and brick work.

I love such things.

As long as I do paint

I shall never cease to paint such places.

They have always been my delight.

Still, I should paint my own places best.

Painting is with me but another word for feeling

and I associate my careless boyhood with all that

lies on the banks of the store.

These scenes made me a painter

and I am grateful, that is, I'd often thought

of pictures of them before I ever touched a pencil.

So you can think about this painting

as Constable loving this landscape

so much, being so intimately familiar with it.

- [Steven] But even as this painting is about his personal

subjective experience, his memories,

it's also a painting that is fixed

in a very particular historical moment

because of industrialization

and because of the growth of cities.

Nature has taken on a meaning because

it is now removed from people's everyday experiences.

At least those that would have seen this painting

in the Royal Academy in London.

- [Beth] There's certainly real nostalgia here.

- [Steven] The six-footers were well received

but the criticism that always comes through

is the lack of finish,

which was so different from the prevailing traditions

in the Academy at this time.

- [Beth] Where everything had to be smoothly painted,

where you were not supposed to see the hands of the artist.

- [Steven] Constable was deliberate in creating

a rough surface that he felt captured

the variety of textures of nature that he was seeing.

- [Beth] We can feel the paint moving across

the surface in the currents of the water, for example.

- [Steven] And the movement of those billowing clouds,

but in some ways the painting is also very traditional,

for instance in its composition.

We're led in from the lower right and we arc slowly across

the foreground towards the left

and then circle back to the broadly-lit fields

and then up into the clouds.

- [Beth] And so it is a fiction

that Constable is giving us.

This may appear to be a snapshot of a view

on the river but this is actually something very carefully

composed in the artist's studio in the city of London.

- From oil sketches that the artist had done outside,

it's a distillation of his memory,

of his experience, and of his skill.

(soft piano music)