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The painting is based on sketches that
Constable produced in his native Suffolk, but the full composition was finished between 1818-1819 during his time in London. The painting was completed and exhibited at the Royal Exhibition in 1819, where it was well received. Constable was voted an Associate of
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In 1830, when Fisher was heavily indebted, he bought the painting back, also for 100 guineas. He would keep it for the rest of his life. After his death in 1837, the painting passed through the hands of various
English collectors, before being brought to the
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There are generally in the life of an artist perhaps one, two or three pictures, on which hang more than usual interest – this is mine.
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The painting marked a vital turning point in the artist's career. It was the first in a series of six so called
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was one of
Constable’s favourite paintings. He commented in a letter to Fisher in 1826:
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on the strength of it. The painting was purchased for 100 guineas by
Constables friend
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131.4 cm × 188.3 cm (51.7 in × 74.1 in)
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129:. The subject of the painting is a tow-horse being ferried across the river in
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Sotheby’s: Immortalised
Landscape of Constable Country
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433:The Birth of the Modern: World Society 1815-1830
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281:Parris, Leslie; Fleming-Williams, Ian (1991).
747:Cenotaph to the Memory of Sir Joshua Reynolds
651:Salisbury Cathedral from the Bishop's Grounds
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773:Charles Golding Constable (son)
627:Hampstead Heath, with a Bonfire
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186:The full-size oil sketch for
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829:Oil on canvas paintings
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329:The V&A
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121:River Stour
793:Categories
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234:References
66:Dimensions
501:Paintings
283:Constable
659:The Lock
227:The Lock
201:See also
131:Flatford
74:Location
766:Related
141:History
135:towpath
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
