course to be adopted, Constable betook himself to the study of nature on the spot. Careful drawing was his first object, as the substance to which the embodiment of colour and chiaroscuro was to be applied, and without which, though there might be effect, there could be no truth. His studies of trees and foreground are said to have been eminently beautiful. These, however, he loved to exhibit in their vernal, rather than their autumnal character. "I never did admire the autumnal tints, even in nature – so little of a painter am I in the eye of common connoisseurship. I love the exhilarating freshness of spring." Buildings he did not court, but rather avoided – though in later life he grappled successfully even with architectural detail, as in his pictures of Salisbury Cathedral;2 but, in general, he dealt with it sparingly. Shipping and coast-scenes he considered "more fit for execution than for sentiment." What he luxuriated in was the study of atmospheric effects, and the principles of light and shadow as applied to his sylvan and pastoral landscapes. "I hold the genuine pastoral feeling of landscapes," said he, writing in 1829 to his friend Archdeacon Fisher, "to be very rare, and difficult of attainment. It is by far the most lovely department of painting, as well as of poetry." "Painting," he says in another letter, "is with me but another word for feeling, and I associate my careless boyhood with all that lies on the banks of the Stour. These scenes made me a painter, and I am grateful." "Whatever may be thought of my art, it is my own; and I would rather possess a freehold, though but a cottage, than live in a palace belonging to another."
Thus feeling intensely the charm of nature – and confident that by the vivid representation of pastoral English landscape, he could enable it to exercise upon other minds something of the same spell which it produced on his own – his whole efforts, as he says himself, were directed to forget pictures, and to catch if possible the precise aspect which the scenery which he endeavours to portray presented at the moment of study. And here particularly it is, that the genius of Constable is visible. A man of less reach of mind, beginning, as he did, with this minute attention to the vocabulary of detail, would probably have ended there. We should have had a set of pictures perfectly painted in parts, but forming no consistent whole. All general effect would have been sacrificed to the impression to be produced by particulars. The very love of nature often leads to this error – as in the once-popular Glover, and many others. But no one had a fuller sense than Constable, that by this means pictures never can be created; that literal imitation of the details of nature is a delusion; because not only is the medium we use entirely inadequate, but paint as we may, with the most microscopic minuteness of detail, the thousand little touches and reflexes of light and shade, which soften and harmonize all things in nature, are essentially evanescent, and incapable of being transferred to canvass. He felt that a certain substitute for nature, awakening a corresponding impression upon the mind, was all that he could be afforded by painting – that the spirit and not the letter of her handwriting was to be imitated. The object of painting, as he himself expressed it, "was to realize, but not to feign: to remind, but not to deceive."
Hence, while he perfectly succeeded in catching the spirit of the spot – so much so, that Mr Leslie, visiting the scenes of his pictures for the first time after his death, declares, "that he was absolutely startled by the resemblance" – he yet exercised over the whole that creative, at least compounding art, which arrayed the objects in the forms most harmonious to the eye, and grouped the details into a whole, telling in the most effective manner the story, or conveying the impression it was intended to create. The composition of a picture, he used to say, "was like a sum in arithmetic – take away, or add the smallest item, and the whole was certain to be wrong."
As a consequence, we think, of this conviction, that nature is not to be literally imitated in her colours or forms, but that some compromise is to be found, by which, though on a lower key, a similar impression is to be made on the eye, and through that on the mind, is the general abstinence from positive colour, which distinguishes Constable's paintings. It was not that he adopted the conventional orange and brown of the continental school, or shrank from endeavouring to carry the full impression of the dewy verdure of English landscape. For these subterfuges in art he had an abundant contempt. "Don't you find it very difficult to determine," said Sir George Beaumont, (who, with all his fine feelings of art, certainly looked at nature through a Claude Lorraine medium,) "where to place your brown tree?" "Not in the least," was Constable's answer, "for I never put such a thing into a picture." On another occasion, when Sir George was recommending the colour of an old Cremona fiddle as a good prevailing tone for every thing, Constable answered the observation by depositing an old Cremona on the green lawn in front of the house at Cole-Orton. But what we mean is this – that to produce the effect which green or red produces in nature, it does not follow that green or red are to be used in art, and that the impression of these colours will often be better brought out by tints in which but a very small portion of either is to be found.
Mr Leslie has remarked this peculiarity in several of Constable's pictures. Speaking of Constable's Boat-building, he observes – "In the midst of a meadow at Flatford, a barge is seen on the stocks, while, just beyond it, the river Stour glitters in the still sunshine of a hot summer's day. This picture is a proof, that in landscape, what painters call warm colours are not necessary to produce a warm effect. It has, indeed, no positive colour, and there is much of gray and green in it; but such is its atmospheric truth, that the tremulous vibration of the heated air near the ground seems visible." Again, with regard to a small view from Hampstead heath. "The sky is of the blue of an English summer day, with large but not threatening clouds of a silvery whiteness. The distance is of a deep blue, and the near trees and grass of the freshest green; for Constable could never consent to patch up the verdure of nature to obtain warmth. These tints are balanced by a very little warm colour on a road and gravel-pit in the foreground, a single house in the middle distance, and the scarlet jacket of a labourer. Yet I know no picture in which the mid-day heat of summer is so admirably expressed; and were not the eye refreshed by the shade thrown over a great part of the foreground by some young trees that border the road, and the cool blue of water near it, one would wish in looking at it for a parasol, as Fuseli wished for an umbrella when standing before one of Constable's showers."
It was probably the manner of Constable's execution, as much as any thing else, which for a time interposed a serious obstacle to his success; particularly with artists or persons accustomed to attend to the executive detail of painting. "My pictures will never be popular," he said, "for they have no handling; but I do not see handling in nature." His aim, in fact, though we must admit it was not always successful, was to exhibit art, but not artifice – to efface all traces of the mere mode of execution – to conceal the handwriting of the painter, and to imitate those mysterious processes by which nature produces her effects, where all is shadowy, glimmering, indefinable, yet pregnant with suggestion. In Turner more than any other modern artist – for in this respect we think he far excelled Constable – is this alchymy of art carried to perfection. Look closely at his pictures, and a few patches, dashes, and streaks only are visible, which seem a mere chaos of colour; but retire to the proper distance, what magnificent visions grow into shape; how the long avenue lengthens out for miles; how the sun-clad city brightens on the mountain – the stream descends from the eye – the distance spreads out into infinity! – all these apparently unmeaning spots or accidents of colour, in which it is difficult to detect the work of the hand or pencil at all, being, in fact, mysterious but speaking hieroglyphics, based on profound combinations of colour and light and shadow, and full of the finest harmonies to all who can look at nature with the eye of imagination.
Constable, a we have said, was not always successful in this, the most hazardous of all attempts in painting. If the touches of pure white, which he seemed to scatter on his trees as if from a half-dry brush, sometimes assisted the dewy effect which he loved to produce, they very often, from the absence of that power of just calculation which Turner seems so unerringly to possess, produced a spotty effect, as if the trees had been here and there powdered with snow. Very frequently he exchanged the pencil for the palette knife, in the use of which he was very dexterous, but which, Mr Leslie admits, he occasionally carried to a blamable excess, loading his pictures with a relievo of colour, and provoking the remark, that if he had not attained breadth, he had at least secured thickness.
On the whole, Constable, though now and then missing his object – sometimes,