Latest news with #JohnConstable
Wall Street Journal
4 days ago
- Entertainment
- Wall Street Journal
John Constable's ‘The Hay Wain': A Landmark Landscape
The National Gallery, London, founded in 1824, celebrated its bicentenary in small exhibitions across the U.K. that brought the museum's most iconic paintings to an even wider British public. John Constable's 'The Hay Wain' (1821), the Romantic artist's best known landscape, revered in his native England as an authentic image of its rural countryside, was among the works acclaimed as national treasures, and is now back in London as part of the recently reinstalled collection. The peaceful, unassuming canvas's radically new technique, its profound redefinition of what landscape painting could be, and Constable's inherently moral approach to the genre's naturalistic representation would preoccupy him throughout his career. Constable (1776-1837) grew up in East Bergholt, a small village in Suffolk along the River Stour in East Anglia. His father, who had inherited the local Flatford Mill, plied his prosperous trade along the river's canals, which afforded his family a genteel country life. Though the artist studied at London's Royal Academy as early as 1799, he often returned to draw and paint the fertile green fields and placid river scenes that viewers recognized even during his lifetime as 'Constable Country.' After his marriage in 1816, however, he moved permanently to London, and was elected associate of the Royal Academy in 1819. Constable also exhibited that year the first of his so-called Six-Footers, the monumental River Stour scenes that were painted in his London studio and were his bid for fame.
Daily Mirror
11-05-2025
- Daily Mirror
Charming overlooked town surrounded by animal-filled meadows is day trip heaven
Few towns can boast a mummified cat and the decapitated head of an Archbishop among their tourist attractions. Fewer still were home to one of Britain's greatest painters, and are surrounded by ancient commonland where cows freely pasture. Sudbury is a beautiful town with a rich industrial and cultural history, yet like many of the sweet settlements in East Anglia, it suffers from its location. 'We're on the way to nowhere here. No one comes to Sudbury by accident,' a volunteer in Gainsborough's House Museum tells me as we admire the gallery's latest exhibition - a selection of 18th-century masterpieces borrowed from Kenwood House in Hampstead Heath. Sudbury's problem is that it's very much at the end of the line. The Gainsborough Line to be specific. You'll have to take the 50-minute train from London Liverpool Street to Marks Tey and change onto a three-carriage trundler, which emerges from leafy cuttings to ride high above the pastoral beauty of the Stour Valley on a 32-arch viaduct (the second largest brick-built structure in England) before terminating in Sudbury. It also finds itself competing with its neighbours in the informal 'great beauties of Suffolk' rankings. Seven miles up the road is Lavenham, Britain's best preserved medieval village where rickety houses dyed pink with pigs blood limewash line the streets. Over on the coast the pastel colours of Aldeburgh sit above a wide East Anglian pebble beach. The most direct competition comes 15 miles down the River Stour in Flatford, where John Constable painted The Hay Wain. Today the white mill that inspired the painting remains as it did in the early 19th century, like much of Constable Country does as it merges into Gainsborough territory while you make your way back west along the Stour River to Sudbury. Approached by foot, the town could exist at any point in the last thousand years, thanks to the meadow's commonland status which have kept this Area of Outstanding Natural Beauty a haven for moorhen, field mice, collared dove and, as my niece kept pointing out, 'ducks!' On a sunny day a table up on The Mill's terrace is the best place to sit and watch the wildlife, the cattle roaming and the toddlers toddling by the water. When the sun is shining is also the best time to visit Gainsborough's House, due to the way the light bounces around its spacious galleries, filled, of course, with the artist's work, but also modern pieces responding to Thomas by the likes of Royal Academician Katherine Jones. After looking around, you could do worse than a cup of tea beneath the branches in the museum's garden. Other places in the town to enjoy a bite include vegan joint Cradle, brunch specialists Painters at the Angel and, as everyone I met kept recommending, The Henny Swan. The 17th-century pub is an hour's walk out of town along the Stour and rewards those who make the journey with a riverside garden and an esteemed Ploughman's. 'Believe me, my young friend, there is nothing–absolutely nothing–half so much worth doing as simply messing about in boats,' Ratty once opined to Moley in A.A. Milne's Wind in the Willows, and he is right. Happily, to this end, both the Henny and the Sudbury Boat House are on hand with cheap rowing boats, paddle boards, and kayak options, which can be used to travel between Sudbury's riverside pubs. Once you've done messing about on boats it'll be time to get down to the serious business of Sudbury's second and third most popular tourist attractions - the mummified cat and the head. The poor moggy is entombed in a glass cabinet at the Mill, where she was found during a conversion in 1971. It's likely that the cabinet had been there for 300 years, in line with an old Suffolk tradition that saw live cats buried in the foundations of buildings to ward off witches, warlocks, and fires. The head is arguably less sad but more appointment viewing. Simon of Sudbury was another local lad done good, the wise young man working his way up from Rector of Wickhambrook to the Archbishop of Canterbury in the 14th century. Unfortunately, he took his seat and the role of Lord Chancellor just as the Government decided to pay off the King's huge war debts with a poll tax. In came the revolting peasants from the Home Counties, and off came Simon's head. Before the spike he was impaled on was used to hold up the later defeated People's Champion Wat Tyler, Simon's head was spirited away back to his hometown and tucked away in St Gregory's Church. Today, if you ask the caretaker nicely, they might get it out of storage and give you a look.
Yahoo
10-05-2025
- Entertainment
- Yahoo
National Gallery refuses to politicise paintings in collection redisplay
The National Gallery has refused to politicise its paintings and will instead 'celebrate the European tradition'. Bosses refused to make paintings 'political' with their recent redisplay of the collection, in a move out of step with many British arts institutions. Museums and galleries have been accused of 'going woke' by reinterpreting their cultural treasures in terms of how they relate to slavery, colonialism, and racism. Rehangs of famous collections, including that of Tate Britain, have been used as opportunities to add new labels alerting visitors to historic injustices, which can sometimes be tangential. John Constable's beloved images of English rural life have even been linked in one museum to 'dark, nationalist' beliefs. The National Gallery has now completed the redisplay and relabelling of its entire collection, but has deliberately refused to politicise its artworks. Gallery director Sir Gabriele Finaldi told The Telegraph: 'Fundamentally, it is a celebration of the collection, of painters, and of the great European tradition. 'In some sense, it's a bit old fashioned.' Sir Gabriele, who has led the National Gallery since 2015, added: 'We think of it as an aesthetic experience, which then can become an educational experience, and a social experience. Not necessarily a political experience.' Instead, the total rehang of the collection aims to celebrate 'some of the great figures of the canon'. The rehang of all the gallery's displayed paintings, aside from a handful of works by Turner and Claude, marks the completion of a two-year project. Central to this was the £85 million remodelling of the Sainsbury Wing of the gallery, intended to make the space into a brighter, more welcoming main entrance to the attraction. The gallery's apolitical approach stands in contrast to recent rehangs of major British collections. In 2023, Tate Britain removed some innocuous images, while displaying more politically contentious works, and those linked to slavery and colonialism. New labelling then told the public of the evils of slavery and empire defences in the paintings, as well as issues including prejudice against travellers, and economic hardship for the labouring classes. Curators also pointed out in new labelling that Constable's paintings show an idealised England that ignores the suffering of the rural poor. The Fitzwilliam Museum in Cambridge followed a similar theme. In 2024, the museum reordered into themed categories, in an 'inclusive' shake-up, with artwork grouped into categories including Men Looking at Women, Identity, Migration and Movement. In the Nature gallery, containing works by Constable and Gainsborough, it was noted that bucolic landscapes had a 'darker side' and could evoke 'nationalist feeling' The National Gallery, which cares for Constable's great 1821 work, The Hay Wain, has not included any political observations in its labelling for the painting. Information presented to visitors across the gallery instead places the focus on artistic trends and the art-historical significance of the painters represented. Sir Gabriele said he wanted to ensure labels helped visitors understand art and art history, adding: 'Artists come to the National Gallery and say, 'This is where I learn, this is a tonic for me'.' Marking the revamp, Arts Minister Chris Bryant said: 'The National Gallery is one of the best loved members of our family of national Museums. 'It's a delight to see any family member get a makeover, and this is no exception. And having seen some of the rehang, I know everybody will be amazed.' The revamped wing includes a new coffee bar, restaurant, and high-definition screens which show artworks in close up, revealing details that are barely viable to the naked eye. Some ceilings have also been removed to provide more space and light. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
10-05-2025
- Entertainment
- Telegraph
National Gallery refuses to politicise paintings in collection redisplay
The National Gallery has refused to politicise its paintings and will instead 'celebrate the European tradition'. Bosses refused to make paintings 'political' with their recent redisplay of the collection, in a move out of step with many British arts institutions. Museums and galleries have been accused of 'going woke' by reinterpreting their cultural treasures in terms of how they relate to slavery, colonialism, and racism. Rehangs of famous collections, including that of Tate Britain, have been used as opportunities to add new labels alerting visitors to historic injustices, which can sometimes be tangential. John Constable 's beloved images of English rural life have even been linked in one museum to 'dark, nationalist' beliefs. The National Gallery has now completed the redisplay and relabelling of its entire collection, but has deliberately refused to politicise its artworks. Gallery director Sir Gabriele Finaldi told The Telegraph: 'Fundamentally, it is a celebration of the collection, of painters, and of the great European tradition. 'In some sense, it's a bit old fashioned.' Sir Gabriele, who has led the National Gallery since 2015, added: 'We think of it as an aesthetic experience, which then can become an educational experience, and a social experience. Not necessarily a political experience.' Instead, the total rehang of the collection aims to celebrate 'some of the great figures of the canon'. The rehang of all the gallery's displayed paintings, aside from a handful of works by Turner and Claude, marks the completion of a two-year project. Central to this was the £85 million remodelling of the Sainsbury Wing of the gallery, intended to make the space into a brighter, more welcoming main entrance to the attraction. The gallery's apolitical approach stands in contrast to recent rehangs of major British collections. In 2023, Tate Britain removed some innocuous images, while displaying more politically contentious works, and those linked to slavery and colonialism. New labelling then told the public of the evils of slavery and empire defences in the paintings, as well as issues including prejudice against travellers, and economic hardship for the labouring classes. Curators also pointed out in new labelling that Constable's paintings show an idealised England that ignores the suffering of the rural poor. The Fitzwilliam Museum in Cambridge followed a similar theme. In 2024, the museum reordered into themed categories, in an 'inclusive' shake-up, with artwork grouped into categories including Men Looking at Women, Identity, Migration and Movement. In the Nature gallery, containing works by Constable and Gainsborough, it was noted that bucolic landscapes had a 'darker side' and could evoke 'nationalist feeling' The National Gallery, which cares for Constable's great 1821 work, The Hay Wain, has not included any political observations in its labelling for the painting. Information presented to visitors across the gallery instead places the focus on artistic trends and the art-historical significance of the painters represented. Sir Gabriele said he wanted to ensure labels helped visitors understand art and art history, adding: 'Artists come to the National Gallery and say, 'This is where I learn, this is a tonic for me'.' Marking the revamp, Arts Minister Chris Bryant said: 'The National Gallery is one of the best loved members of our family of national Museums. 'It's a delight to see any family member get a makeover, and this is no exception. And having seen some of the rehang, I know everybody will be amazed.' The revamped wing includes a new coffee bar, restaurant, and high-definition screens which show artworks in close up, revealing details that are barely viable to the naked eye. Some ceilings have also been removed to provide more space and light.
Yahoo
02-05-2025
- Business
- Yahoo
Net zero subsidies cost British households £280 a year
Britain's green energy subsidies have added an estimated £280 to households' energy bills, research has found. Levies used to encourage construction of wind farms, solar parks and other renewables have added £25.8bn a year to energy bills paid by both households and industry, according to a study from the Renewable Energy Foundation (REF). The charity said the cost of the subsidies were a key factor in the UK's sky-high electricity prices and blamed them for accelerating the decline of British industry. John Constable, REF's director, said: 'Renewables subsidies are now costing £25.8 bn per year – or over £900 per household annually – about one third of which, £280, will hit the average domestic electricity bill directly. 'The remainder, £650, impacts households through general cost of living increases – as businesses like supermarkets recover their share of the green subsidy costs through increased prices. 'This is intolerable. It simply can't go on.' REF's estimate of the direct cost of green energy subsidies on household bills is strikingly similar to the £300 that Labour promised bills would decrease by if the party came to power and moved Britain's energy system to renewables. That claim has become a source of controversy since their election win last year, with Ed Miliband, the Energy Secretary, repeatedly challenged to show bills are going down. Average bills rose by 6.4pc, or £111 a year, when the latest energy price cap took effect last month. A Government spokesman disagreed with the REF figures used in the report and said it 'ignores the benefits of clean power and significantly misleads on the cost of renewables'. REF analysed the cost of 10 separate subsidy schemes imposed on homes and businesses by successive governments since 2002. The report, which was based on government data, is thought to be the first to draw together the cost of the UK's many green subsidies and the levies that support them. The most expensive subsidy was the Renewable Obligation scheme set up in 2002, which offers wind solar and other renewable producers guaranteed subsidies for two decades after they start generating. It cost an estimated £6.8bn in 2023. Its surging costs saw it blocked for new entrants in 2017, but companies accepted before then can still get payments up to 2037. It currently adds £89.26 to the average domestic fuel bill, according to separate data from analysts Cornwall Insight. REF said the total £25.6bn cost of such subsidies now accounts for more than a third of the £71bn spent on electricity in the UK in 2023, the most recent year it looked at. It means such subsidies are key factors in setting the UK's power prices, which are among the world's highest. It said: 'There can be little doubt that renewable electricity subsidies are a significant factor in the cost of living crisis and are very likely to be an important element underlying the weak growth in productivity in the UK economy since the financial crisis of 2008.' The latest Government analysis of electricity demand in 2024 said industrial power consumption had fallen by 22pc since 2010, while commercial and domestic consumption both fell by 22pc. Andrew Bowie, the Conservative shadow energy secretary, said: 'Ed Miliband can try to perpetuate the fiction that his net zero targets will save people money, but this research reveals the true cost of prioritising climate targets over cheap energy. 'Under new leadership, the Conservatives have been clear that the cost to families of net zero by 2050 will be far too high. Sir Keir Starmer must rein in his ideological Energy Secretary and urgently change course.' The Government argued that the subsidies were accelerating the move to clean energies and reducing UK vulnerability to future surges in gas and oil prices. A spokesman said: 'As shown by the National Energy System Operator's independent report, clean power by 2030 is achievable and will deliver a more secure energy system, which could see a lower cost of electricity and lower bills.' Ana Musat, of Renewable UK, the wind industry trade body, said: 'Looking at the cost of financial support for renewables in isolation is misleading, as it does not reflect the contributions of the sector to the economy. 'Offshore wind alone is attracting billions of pounds of new investment to this country, supporting 32,000 jobs, and this is set to rise to 100,000 by 2030. 'We're also expecting subsidy costs to begin falling in the near future, with a £1.8bn reduction for billpayers starting in 2027.' Many of the subsidy schemes now overseen by Mr Miliband were set up by the previous Conservative or coalition governments. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
