This lecture, delivered by Nicholas Robbins, reflects on John Constable’s work from the 1830s by thinking about a less well-known aspect of his artistic life: figure drawing and painting, and especially his work as a visitor to the Royal Academy’s life drawing class. It was paradoxically in the spatial dynamics of the life class that Constable sought the origins of landscape painting, through the subjective, corporeal, sometimes erotic negotiation of the body’s being in space. Alongside Constable’s experiments in the Life Academy, this lecture explores the rearticulation of figure-ground relations in his printmaking projects and exhibition paintings in the early 1830s, as well as his thinking about the evolution of landscape from the bodily realm of history painting in his evolving ‘Lectures on Landscape’. While Constable staked his career on landscape, he never gave up figure painting, and this lecture will suggest that it is in the human body’s claim on painting that we can find a new vantage on Constable’s work and its relationship to art history.Ìý
This event is organised by Professor Steve Edwards, Manton Professor of British Art and Director of the Manton Centre for British Art, 91Ó°ÊÓ. This event is part of ‘Generation Landscape’, a three-year programme of research and events organised by the Paul Mellon Centre for Studies in British Art and the Manton Centre at 91Ó°ÊÓ.
With contributions from:
Nicholas Robbins is Lecturer in British Art at University College London. His work focuses on the intersections of art, science, and environment in the modern Atlantic world. His book, The Late Weather: Art and Climate inÌýNineteenth-Century Britain, is forthcoming from the Paul Mellon Centre/Yale University Press in 2027. He is also co-editor, with Sria Chatterjee, of a special issue ofÌýArt HistoryÌýon ‘Climate and Form’.ÌýHe is a member of the editorial group of the Oxford Art Journal.Ìý