Constable: A Portrait
02.2022β―Π³. Β· Hachette UK
ΠΠ»Π΅ΠΊΡΡΠΎΠ½Π½Π° ΠΊΠ½ΠΈΠ³Π°
496
Π‘ΡΡΠ°Π½ΠΈΡΠΈ
family_home
ΠΡΠ³ΠΎΠ²Π°ΡΡ Π½Π° ΡΡΠ»ΠΎΠ²ΠΈΡΡΠ°
info
reportΠΡΠ΅Π½ΠΊΠΈΡΠ΅ ΠΈ ΠΎΡΠ·ΠΈΠ²ΠΈΡΠ΅ Π½Π΅ ΡΠ° ΠΏΠΎΡΠ²ΡΡΠ΄Π΅Π½ΠΈ Β ΠΠ°ΡΡΠ΅ΡΠ΅ ΠΏΠΎΠ²Π΅ΡΠ΅
ΠΡΠΈΡΠΊΠΎ Π·Π° ΡΠ°Π·ΠΈ Π΅Π»Π΅ΠΊΡΡΠΎΠ½Π½Π° ΠΊΠ½ΠΈΠ³Π°
ONE OF THE TIMES AND SUNDAY TIMES' BEST BOOKS FOR 2022
SHORTLISTED FOR THE POL ROGER DUFF COOPER PRIZE 2023
'Eye-opening and full of surprises . . . A treasure' Sunday Times
'A biography as rich with colourful characters as any novel' Telegraph
John Constable, the revolutionary nineteenth-century painter of the landscapes and skies of southern England, is Britain's best-loved but perhaps least 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 colour. What we learn from his landscapes is that Constable had sharp local knowledge of Suffolk, a clarity of expression of the skyscapes above Hampstead, an understanding of the human tides in London and Brighton, and a rare ability in his late paintings of Salisbury Cathedral to transform silent suppressed passion into paint.
Yet Constable was also an active and energetic correspondent. His letters and diaries - there are over one thousand letters from and to him - reveal a man of passion, opinion and discord, while his character and personality is concealed behind the high shimmering colour of his paintings. They reveal too the lives and circumstances of his brothers and his sisters, his cousins and his aunts, 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, troubled man, and explodes previous mythologies about this timeless artist, and establishes him in his proper context as a giant of European art.
SHORTLISTED FOR THE POL ROGER DUFF COOPER PRIZE 2023
'Eye-opening and full of surprises . . . A treasure' Sunday Times
'A biography as rich with colourful characters as any novel' Telegraph
John Constable, the revolutionary nineteenth-century painter of the landscapes and skies of southern England, is Britain's best-loved but perhaps least 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 colour. What we learn from his landscapes is that Constable had sharp local knowledge of Suffolk, a clarity of expression of the skyscapes above Hampstead, an understanding of the human tides in London and Brighton, and a rare ability in his late paintings of Salisbury Cathedral to transform silent suppressed passion into paint.
Yet Constable was also an active and energetic correspondent. His letters and diaries - there are over one thousand letters from and to him - reveal a man of passion, opinion and discord, while his character and personality is concealed behind the high shimmering colour of his paintings. They reveal too the lives and circumstances of his brothers and his sisters, his cousins and his aunts, 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, troubled man, and explodes previous mythologies about this timeless artist, and establishes him in his proper context as a giant of European art.
ΠΠ° Π°Π²ΡΠΎΡΠ°
James Hamilton is an art and cultural historian. His books include TURNER: A LIFE, shortlisted for the James Tait Black Memorial Prize, and A STRANGE BUSINESS: MAKING ART AND MONEY IN NINETEENTH-CENTURY BRITAIN, which in 2014 was named Art Book of the Year by the SUNDAY TIMES. Hamilton was curator of art collections and projects in Portsmouth, Wakefield, Sheffield, Leeds and the University of Birmingham, where he is a Fellow of the Barber Institute of Fine Arts.
ΠΡΠ΅Π½Π΅ΡΠ΅ ΡΠ°Π·ΠΈ Π΅Π»Π΅ΠΊΡΡΠΎΠ½Π½Π° ΠΊΠ½ΠΈΠ³Π°
ΠΠ°ΠΆΠ΅ΡΠ΅ Π½ΠΈ ΠΊΠ°ΠΊΠ²ΠΎ ΠΌΠΈΡΠ»ΠΈΡΠ΅.
ΠΠ½ΡΠΎΡΠΌΠ°ΡΠΈΡ Π·Π° ΡΠ΅ΡΠ΅Π½Π΅ΡΠΎ
Π‘ΠΌΠ°ΡΡΡΠΎΠ½ΠΈ ΠΈ ΡΠ°Π±Π»Π΅ΡΠΈ
ΠΠ½ΡΡΠ°Π»ΠΈΡΠ°ΠΉΡΠ΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½ΠΈΠ΅ΡΠΎ Google Play ΠΠ½ΠΈΠ³ΠΈ Π·Π° Android ΠΈ iPad/iPhone. Π’ΠΎ Π°Π²ΡΠΎΠΌΠ°ΡΠΈΡΠ½ΠΎ ΡΠ΅ ΡΠΈΠ½Ρ
ΡΠΎΠ½ΠΈΠ·ΠΈΡΠ° Ρ ΠΏΡΠΎΡΠΈΠ»Π° Π²ΠΈ ΠΈ Π²ΠΈ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ²Π° Π΄Π° ΡΠ΅ΡΠ΅ΡΠ΅ ΠΎΠ½Π»Π°ΠΉΠ½ ΠΈΠ»ΠΈ ΠΎΡΠ»Π°ΠΉΠ½, ΠΊΡΠ΄Π΅ΡΠΎ ΠΈ Π΄Π° ΡΡΠ΅.
ΠΠ°ΠΏΡΠΎΠΏΠΈ ΠΈ ΠΊΠΎΠΌΠΏΡΡΡΠΈ
ΠΠΎΠΆΠ΅ΡΠ΅ Π΄Π° ΡΠ»ΡΡΠ°ΡΠ΅ Π·Π°ΠΊΡΠΏΠ΅Π½ΠΈΡΠ΅ ΠΎΡ Google Play Π°ΡΠ΄ΠΈΠΎΠΊΠ½ΠΈΠ³ΠΈ ΠΏΠΎΡΡΠ΅Π΄ΡΡΠ²ΠΎΠΌ ΡΠ΅Π± Π±ΡΠ°ΡΠ·ΡΡΠ° Π½Π° ΠΊΠΎΠΌΠΏΡΡΡΡΠ° ΡΠΈ.
ΠΠ»Π΅ΠΊΡΡΠΎΠ½Π½ΠΈ ΡΠ΅ΡΡΠΈ ΠΈ Π΄ΡΡΠ³ΠΈ ΡΡΡΡΠΎΠΉΡΡΠ²Π°
ΠΠ° Π΄Π° ΡΠ΅ΡΠ΅ΡΠ΅ Π½Π° ΡΡΡΡΠΎΠΉΡΡΠ²Π° Ρ Π΅Π»Π΅ΠΊΡΡΠΎΠ½Π½ΠΎ ΠΌΠ°ΡΡΠΈΠ»ΠΎ, ΠΊΠ°ΡΠΎ Π½Π°ΠΏΡΠΈΠΌΠ΅Ρ Π΅Π»Π΅ΠΊΡΡΠΎΠ½Π½ΠΈΡΠ΅ ΡΠ΅ΡΡΠΈ ΠΎΡ Kobo, ΡΡΡΠ±Π²Π° Π΄Π° ΠΈΠ·ΡΠ΅Π³Π»ΠΈΡΠ΅ ΡΠ°ΠΉΠ» ΠΈ Π΄Π° Π³ΠΎ ΠΏΡΠ΅Ρ
Π²ΡΡΠ»ΠΈΡΠ΅ Π½Π° ΡΡΡΡΠΎΠΉΡΡΠ²ΠΎΡΠΎ ΡΠΈ. ΠΠ·ΠΏΡΠ»Π½Π΅ΡΠ΅ ΠΏΠΎΠ΄ΡΠΎΠ±Π½ΠΈΡΠ΅ ΠΈΠ½ΡΡΡΡΠΊΡΠΈΠΈ Π² ΠΠΎΠΌΠΎΡΠ½ΠΈΡ ΡΠ΅Π½ΡΡΡ, Π·Π° Π΄Π° ΠΏΡΠ΅Ρ
Π²ΡΡΠ»ΠΈΡΠ΅ ΡΠ°ΠΉΠ»ΠΎΠ²Π΅ΡΠ΅ Π² ΠΏΠΎΠ΄Π΄ΡΡΠΆΠ°Π½ΠΈΡΠ΅ Π΅Π»Π΅ΠΊΡΡΠΎΠ½Π½ΠΈ ΡΠ΅ΡΡΠΈ.
