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Page 1: The Romantic Art of John Constable and Eugene … MENU The Romantic Art of John Constable and Eugene Delacroix Claudia ReidClaudia Reid I have a kingdom of my own, fertile and populous

CUJAH

MENU

The Romantic Art of John Constable and EugeneDelacroix

Claudia ReidClaudia Reid

I have a kingdom of my own, fertile and populous – my landscape and my children.

– John Constable

To claim that an artist was part of the Romantic Movement is a laborious and

confusing task. As Isaiah Berlin stated in his 1965 lecture, The Roots of Romanti-

cism, Romanticism is that which is undefinable. However, Hugh Honour claims

one characteristic by which Romantic artists can be defined, saying “the only

constant and common factor in their ever-shifting attitudes and scales of value

was belief in the importance of individuality – of the individual self and its ca-

pacity for experience.” His statement proves true for John Constable and Eu-

gene Delacroix, for whom individualism is at the heart of their most Romantic

works. Individualism influenced their choices in regards to their unconvention-

al representations of the everyday world and the common person, which was

considered traditionally to be without artistic merit. Furthermore, it prompted

them to use painting styles and methods that aroused the senses and reflected

their own personal engagements with the world, rather than ones that appealed

to the intellect or represented grand, social, and historical narratives.

For one, Constable and Delacroix depicted subject matter that was beyond the

conventions of their time. Constable was part of a larger artistic trend at the

time where “public history was overridden by the private history and individ-

ual’s relation to the landscape.” Throughout his lifetime, Constable painted pri-

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marily within the pure landscape genre, at a time when it was considered to be

a lower genre than historical painting. In its pure form, it was regarded as infe-

rior for its lack of “human action of social and moral significance.” Generally, a

landscape painting was more highly regarded if it contained human figures that

alluded to a religious, historical or mythical story. Claude Lorrain, who was themost “revered at that time above all other landscape painters” respected this

tradition. In his Landscape with Hagar and the Angel (1646), the landscape acts as

the setting for two figures who allude to the biblical story of Hagar; Constablewas influenced by this work and the tradition that produced it, however, he

chose to paint landscapes without overt moral content. Moreover, he personal-

ly saw the pure landscape genre as high art and strove to have it respected assuch. He reasoned that traditional narratives could be replaced simply by the

emotional responses that natural landscapes evoked in relation to past

personal experiences.

As Honour explains, the Romantics “felt free […] to give personal significance to

those which had long been familiar […].” Constable’s paintings that depict his

native landscapes are “explicitly autobiographical [in] character.” Constable

never travelled outside of England and the only subject matter for his early

work is the countryside around his birth place of East Bergholt, a small farming

village situated in the valley of the River Stour, Suffolk. One such work, Gold-

ing Constable’s Kitchen Garden (1815), was painted from his parent’s home. It

shows a view from above, looking down to the back gardens. While it clearly

represents a landscape that is very familiar to the artist, the painting’s emotion-

al character also reflects Constable’s family life. Vaughan explains how the qual-

ity of afternoon light conveys the passage of time and of the approaching

dusk. It parallels his mother’s recent death and his father’s ailing

condition. It is obvious here that Constable would not have felt it necessary to

place a Venus or an Aphrodite in his kitchen gardens, because the relationship

this landscape has to his personal history has replaced the classical narrative.

He chose subjects that reflected his personal view of the world.

Delacroix differs from Constable in his subject matter, because Delacroix paint-

ed within the historical tradition, producing grand narratives. Despite this, his

works are unconventional by focusing on the common person rather than the

hero. In his Scenes from the Massacre at Scios (1824), he paints some of the surviv-

ing civilians after the Greek massacre by Turkish forces in 1822. They are

wounded, and in some cases, plead for help. They are common people who

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wear simple clothes; they are un-heroic and dejected. For critics accustomed to

neoclassical depictions of battle scenes, these figures would have been consid-

ered as ‘ordinary’ as Constable’s landscapes. Honour explains that in Romantic

art, “the grand style and the heroic scale, hitherto reserved for grand and heroic

themes – stories from the Bible, the exploits of Greek and Roman heroes, the

deeds of rules and their generals – were for the first time adopted to record the

sufferings of ordinary people.”

Delacroix also went against convention by using “modern and contemporary

sources rather than the classics.” His sources were primarily literary, namely

from Shakespeare, Goethe, Byron, and Walter Scott and legends of the Middle

Ages. His Death of Sardanapalus does not represent a contemporary event such

as inMassacre at Scios. However, it does represent a contemporary interpretation

of the hero. The story of Sardanapalus has a history of being depicted in art, all

the way from Greek sculpture in Antiquity to the eighteenth century. Howev-

er, a different and new “attitude toward Sardanapulus seems to have been initi-

ated in the nineteenth century by Byron’s play of 1821 (…).” Byron’s described

Sardanapalus as a “bourgeois dandy” – one who stands apart from the rest and

follows their own moral and social order. It is Byron’s version that Delacroix

translates in his painting. This is epitomized by the “the haughty and chill isola-

tion” of the hero who remains apart from the massacre on his elevated

divan. Therefore, while Sardanapulus is a traditional figure, Delacroix paints

a version of him that is based on a contemporary literary view.

As previously discussed, Constable and Delacroix used unconventional repre-

sentations of the everyday, as seen in Constable’s landscapes and Delacroix’s

contemporary subjects. They made art out of that which was considered to be

without artistic merit. They were able to do so because of their belief that the

individual artist discovers the artistic value within their subjects. In conse-

quence, they transferred their personal visions into their paintings. These indi-

vidualistic representations created paintings that do not represent a uniform

and ideal reality, but rather one that is fragmented. As Honour states, “in the

complex pictorial composition there is no strongly defined pattern around a

central axis, nothing to suggest a firm social or cosmic structure – rather the re-

verse”.

Constable’s portrayals of mundane things “emphasize the ‘framing of the land-

scape’” and are shown in his use of composition. His paintings bring the view-

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er into closer physical proximity to the subject, essentially allowing the viewer

to enter the landscape. In his compositions, the viewer stands at eye level or just

below the subject. Heffernan explains that “verticality and pre-empted fore-

grounds” were used “to absorb the spectator, to dissolve the opposition between

the viewer and the viewed.” In Constable’sThe Leaping Horse (1825), one looks

slightly up towards the main point of focus, the man on his leaping horse. The

tall trees in the background and the expansive sky stand over the figures, and

over the viewer. One is immersed in the landscape; there is a directness that

one cannot ignore. Constable still used elevated points of view on certain occa-

sions. However, these can be explained by the physical location from which he

painted. The painter looks down upon the gardens in Golding Constable’s Kitchen

Garden because he was painting from a window overlooking the scene.

The physical proximity creates a fragmented view of the landscape where one

cannot claim an objective view of the world. Traditionally, landscape painters

were physically removed from the subject they painted. This reflects the acade-

mic tradition of combining idealized studies of the natural elements in the stu-

dio. The artist maintained a more ‘neutral’ or ‘objective’ view because they did

not experience first-hand the things they were representing. This is shown in

the point of views of academic landscapes where the viewer looks down at the

landscape from a distance. Constable opposed this tradition in his composi-

tions and in his artistic practices. Producing oil sketches outdoors from the sites

he painted was a “central activity” throughout his career. He therefore physi-

cally experienced the landscapes he painted. His paintings act like photographs

in the sense that they represent Constable as having actually been there and,

like a photograph, he presents a “snapshot” of the landscape. He therefore

transferred to canvas his own subjective experience and one singular point of

view. One does not see the landscape in its entirety but sees one viewpoint.

Delacroix also painted in a fragmented manner and did not pretend to offer an

overall depiction of the historical events he painted. InScenes from the Massacre at

Scios, he painted a defining historical moment of the massacre. He does not

even depict the massacre itself. Instead, he paints the moment after the mas-

sacre. The figures are mostly immobile, lying on the ground and upon each

other. The only movement comes from the Turk on horseback behind the in-

nocents, and the small group of figures in the background. Friedlander shows

how the title word “scenes” points to how the work is “somewhat anecdotal in

effect.” He does not present an overall view of what has happened, but in-

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stead, an aspect of it.

As has been shown, Constable and Delacroix were guided by their own

“artistic will,”

rather than traditional and academic formulas that were inspired by individ-

ualistic ways of seeing the world. Furthermore, they both began to paint sensu-

ally rather than intellectually. As Romantics, they wanted “to appeal to the sens-

es rather than to the mind.” The senses are stimulated by the paintings’ engag-

ing compositions and expressive use of colour and light.

The compositions that Constable and Delacroix used to engage the viewer with

the subject on a visual level also engaged the viewer emotionally. Delacroix

filled the canvas with his figures in Scenes from a Massacre at Scios; they “are

pushed forward towards the beholder.” The Massacre at Scios marked, for the

painter, a move away from the Academy’s veneration of the “frieze-like quality”

that was so admired in Poussin and emulated by other painters. Instead,

Delacroix framed his figures in such a way that, along with the canvas’ large

size, they overwhelm the viewer. One cannot help but feel for their condition.

Constable also used light to provoke emotional responses within the viewer. In

many of Constable’s works, he managed to create captivating performances out

of what already existed in the landscapes. One such example is Haleigh

Castle (1828-29). The painting depicts a landscape in which castle ruins sit upon

an outcropping overlooking distant seas. The scenery is remarkable for the

emotive qualities it conveys. Grey rain clouds darken the left side of the canvas

while bright shafts of sunlight light up the dark seas below. A man and his dog

stand below the ruins, dwarfed by the landscape. One is unsure whether the

storm is moving in upon the diminutive figure and his dog or whether it is just

departing. The work was painted soon after Constable’s wife’s death in

1828, and it is often viewed as a sign for his sorrow over this loss. Despite its

personal significance for the artist, a narrative is created in the painting through

the clouds’ theatrics, which contrast between light and darkness. After all, Con-

stable famously wrote: “it will be difficult to name a class of landscape in which

the sky is not the key note, the standard of scale, and the chief organ of senti-

ment.”

Like Constable’s use of light, Delacroix employed an expressive use of colour.

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Chu states that both Delacroix and Baudelaire “stressed that color in painting

can summon emotions in the viewer […] that can be as powerful as those elicit-

ed by music.” She later states that “the association of color with emotion was a

crucial aspect of Delacroix’s thinking about painting.” In Death of Sardanapalus,

the heroic figure lies upon a divan covered in a red cloth. The cloth of the divan

cascades down over the side and across the floor to where the massacre is tak-

ing place. It could almost be a path of blood. It runs diagonally across the can-

vas, providing a dramatic backdrop to the pearly white skin of the writhing

nude females. The black-skinned figure slashing the horse’s neck on the left

hand side of the canvas parallels the billowing dark smoke of the right. Along

with the rhythmic lines, the painting evokes strong emotional responses.

Delacroix also used colour to convey his individualism. For him, contour repre-

sented “idea and convention.” By accentuating his use of colour, and develop-

ing new colour theories, he saw himself as rebelling against stylistic formula –

asserting his own personal views. Delacroix developed and used innovative

colour theories that inspired many later artists, namely the Neo-Impressionists

who, through the words of Paul Signac, declared him as their precursor. He

did not adopt the traditional practice of mixing variable amounts of black and

white to the subject’s colours in order to create half-tones and shading. These

were to be painted instead with the complementary colour of the part of the

object that was lit. He used colour to convey tonal variations because he saw

colour as light; colour could not be separated from light.

In conclusion, Constable and Delacroix employed many innovative artistic

practices. Both artists’ paintings, with their expressive pictorial elements, creat-

ed sensual worlds that inspired the emotions. Both managed to create art out of

the everyday, from that which was previously considered to be without artistic

merit. In so doing, they defined a personal view and engagement with the

world as the basis for artistic creation. This practice represents inherent indi-

vidualism. A negative aspect to their work is that by representing individual re-

sponses and views of the world, rather than a clear and understandable intellec-

tual one, increased allusiveness is bred. These Romantic tendencies have not

abated since their time, and contemporary art usually presents fragmented rep-

resentations of our physical and social worlds. After all, “the social conditions of

commerce, industry, and public life that influenced Romanticism have intensi-

fied, not disappeared.” At the same time, art is still viewed by many as a pow-

erful method of communication. But the question remains, if art is proficient at

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expressing an individual’s interior world, can it still connect to a social reality,

and take a political stance in regards to the social factors that influence an indi-

vidual’s emotional state and well being?

Endnotes

1. Anita Grants, “Studies in 19 Century Art and Architecture: Romanticism,”

(Lecture, Concordia University, Montreal, QC, September 28 2009).

2. Hugh Honour, “Introduction,” and “For Lack of a Better Name,” in Romanti-

cism, reprint edition (London: Penguin Books, 1984), 23.

3. James A. W. Heffernan, The Re-Creation of Landscape: A Study of Wordsworth,

Coleridge, Constable and Turner (Hanover, New Hampshire: University Press of

New England, 1985), 56.

4. Ray Lambert, John Constable and the Theory of Landscape Painting (Cambridge:

Cambridge University Press, 2005), 28.

5. Ibid.

6. William Vaughan, John Constable (London: Tate Publishing, 2002), 18.

7. Ibid.

8. Lambert, John Constable and the Theory of Landscape Painting, 4.

9. Honour, “Introduction,” and “For Lack of a Better Name,” 18.

10. Ibid.

11. Grants, “Studies in 19 Century Art” (October 5 2009).

12. Vaughan, John Constable, 13.

13. Ibid., 39.

14. Ibid.

15. Honour, “Introduction,” and “For Lack of a Better Name,” 40.

16. Barthélémy Jobert, Delacroix (Chichester, United Kingdom: Princeton Uni-

versity Press, 1998), 102.

17. Ibid., 104.

18. Jack J.Spector, Delacroix: the death of Sardanapalus (London: Allen Lane,

1974), 46-51.

19. Ibid., 51-52.

20. Ibid., 59-60.

21. Ibid., 62.

22. Honour, “Introduction,” and “For Lack of a Better Name,” 49.

23. Peter Bishop, An Archetypal Constable: National Identity and the Geography of

Nostalgia (Cranbury, New Jersey: Fairleigh Dickinson Unviersity Press, 1995), 71.

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24. Heffernan, The Re-Creation of Landscape, 56.

25. Ibid., 132.

26. Vaughan, John Constable, 39.

27. Grants, “Studies in 19 Century Art” (October 5 2009).

28. Vaughan, John Constable, 26.

29. Albert Boime, Art in the Age of Conterrevolution, 1815-1848(Chicago: The Uni-

versity of Chicago Press, 2004), 442.

30. Grants, “Studies in 19 Century Art” (October 21 2009).

31. Walter F. Friedlander, David to Delacroix (Cambridge, Massachusetts: Oxford

University Press, 1968), 112.

32. James H. Rubin, “Delacroix and Romanticism,” in The Cambridge Companion

to Delacroix, edited by Beth S. Wright (New York: Cambridge University Press,

2001), 49.

33. Honour, “Introduction,” and “For Lack of a Better Name,” 49.

34. Louis Hawes, “Constable’s Haleigh Castle and British Romantic Ruin Paint-

ing,” The Art Bulletin 6, no.3 (Sept. 1983): 456.

35. Vaughan, John Constable, 64.

36. Ibid.

37. Joshua C. Taylor, “John Constable: Letters and Notes on Painting (1802-

1836),” in Nineteenth-Century Theories of Art (Berkely and Los Angeles: University

of California Press, 1987), 301.

38. Petra ten-Doesschate Chu, “‘A Science and an Art at Once’: Delacroix’s Pic-

torial Theory and Practice,” in The Cambridge Companion to Delacroix, edited by

Beth S. Wright (New York: Cambridge University Press, 2001), 95.

39. Chu, “‘A Science and an Art at Once’: Delacroix’s Pictorial Theory and Prac-

tice,” 95.

40. Ibid., 90.

41. Ibid., 91.

42. Beth S. Wright, “Painting Thoughts: An Introduction to Delacroix,” in The

Cambridge Companion to Delacroix, edited by Beth S. Wright (New York: Cam-

bridge University Press, 2001), 4.

43. Chu, “‘A Science and an Art at Once’: Delacroix’s Pictorial Theory and Prac-

tice,” 92.

44. Ibid.

45. Ibid.

46. Honour, “Introduction,” and “For Lack of a Better Name,” 17.

47. Richard Eldridge et al, “Romanticism” in Encyclopaedia of Aesthetics, edited by

Michael Kelly (Oxford Art Online).

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Boime, Albert. Art in the Age of Counterrevolution, 1815-1848. Chicago: University

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