The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1900-01-02

was enabled henceforth to paint that
I which interested him. In 1919 he was
! elected an associate of the Royal AGA
denny, though up to that time it is
doubtful if he had sold a dozen pictures
J from the exhibitions. To the exhibi-
I ton Of 1922 at the British galleries he
| sent what is now considered his mas
/ terpiece and known as 1.-THE Haywain.' -
/ 1t was called then Landscape Noon. "
/ and it came back to his studio at the
/ close of the show uns0ld. Later a
! F'Tenchman bought this and two other
works for the modest sum Of ego, and
/ the owner sent it to the exhibition at
/ Paris, then being held in the Louvre.
/ It at once created a sensation, being
| hung IN the salon of honor, receiving a
I gold medal from the king. The French
/ government offered to buy it, but the
/ owner refused to sell it without the
/ other two, and the negotiations fell
through. Years afterward it came into
! the possession Of an Englishman named
/ Henry Vaughan. Then there was no
/ lack Of admirers for the work and he
was offered for it the sum Of 100000.
/ To his credit be it said that the offer
was refused, and in 1856 he presented
/ it to the nation. It now hangs in the
/ National gallery in London.
The Frenchmen went wild over his
ton of the public. for there were many
! discussions regarding the remarkable
/ departure in the landscapes of this
daring Englishman. The contentious
had little effect on him, however, and
! he continued on his way. undisturbed
either by praise or blame. He was
| prolific and was constantly at work
making studies out Of doors, for he had
/ discovered how much the beauty Of
/ the landscape depended on light While
the other men Of his time were working
in their studios almost entirely and get
I ting pictures in low keys, far away
/ from the real thing in the open air, he
/ secured the scintillatiOn Of atmosphere,
( the light and shade Of nature, with the
result that his pictures flIrly shoEe
+ His greens were not the dirty, Opaque
tones that were then the fashion: they
I hGd the sparkle Of summer, the light
o. dew and the reflection Of the sky.
/ I'll this seems obvious and easy now;
/ hut then it was a different matter, and
/ il took the public a. long while to ac-
I cept it. Constable paid little attention
/ to the lesser. unimpOrtant details OF
nature. He believed in giving the big
/ aspects of the picture. Sometimes a
/ trifle brutal, there was nevertheless al
ways a. rugged force about his work
/ that was impressive. He realized, too,
/ that he was in advance Of his time, but
/ he had faith in himself. and it was his
! boast that posterity would recognize
his ability How true were his pro-
| phetic visions may be known when it
I is seen how the picture-collecting pub
( lie struggles TO get his work in these
/ Gays. for his canvases bring enormous
sums.
/ During his lifetime Constable was
/ never in any sense a popular painter.
{ Ills themes were possibly too simple
/ to suit the English public, accustomed
/ to artifciaEy composed pictures. or
I they were too artisticaliy conceived to
appeal to an all-around clientele. He
/ was fond Of depicting great masses of
/ sky forms over simple stretches OF
quiet country, and he loved to paint
/ the river Stour, which flowed past his
/ old home. Windmilis he introduced
/ frequently into the landscape. and one
[ REGULARITY of his work was that he in
vaTiably made his preliminary study
out Of doors much larger than the
/ completed picture, which he finished in
/ his studio. thus reversing the usual
I custom Of the artist. Two such large
/ tan Museum of Art in New York City.
{ They are called, respectively, "A Lock
on the Stour' and Valley Farm" and
though they have lost some of their
{ color in the years. they are fine, sturdy
works. He used a. palette knife quite
/ freely in painting and sometimes he
kept canvas a long while in his stu
/ do before he let it go cut into the
world. It is said that he had his IA
nous picture. Waterloo Bridge some
/ thirteen years under consideration be-
! fore he finally pronounced it complete.
Two Of his works. THE Rainbow and
( weymouth Bridge" were presented TO
49, ~---re in Paris IN 1873 BY a Mr..