约翰·康斯特布尔出生于东Bergholt，在一个村庄斯陶尔河在萨福克郡，以戈尔丁和Ann（瓦特）警员。他的父亲是一位富有的商人玉米，老板Flatford米尔东Bergholt，后来，戴德姆穆勒在埃塞克斯郡。戈尔丁警员拥有少量出货，电报，这是他在停泊Mistley在斯图尔河口，以及用于运输玉米伦敦。他是伦敦的茶叶商人的表弟亚伯兰纽曼。虽然警员是他父母的第二个儿子，他的哥哥是智障和约翰有望接替他的父亲在生意。在一所寄宿学校一个短暂的时期后，拉文纳姆，他就读于走读学校戴德姆。警员曾在玉米业务后离开学校，但他的弟弟亚伯兰最终接手工厂的运行。

在他的青年，警察走上了业余素描周边萨福克郡和埃塞克斯郡的乡村，这是成为一个很大的比例了他的艺术的主题旅行。这些场景，用他自己的话说，“让我一个画家，我很感激”; “的水声从磨坝等，杨柳，老烂木板，粘糊糊的职位和砖砌逃避，我喜欢这样的事情。” 他被介绍给乔治·博蒙特，一个收藏家，谁给他看他的珍贵夏甲和天使由克劳德·洛兰，启发警员。后来，而探亲米德尔塞克斯，他被介绍给职业艺术家约翰·托马斯·史密斯，谁劝他画画，还劝他留在父亲的生意，而不是采取了艺术专业。

1799年，警员劝说父亲让他追求艺术生涯，以及戈尔丁授予他一个小津贴。进入皇家学院学校作为一个见习生，他参加了生活类和解剖解剖，研究和复制老主人。其中在这一时期，特别是启发他由绘画作品托马斯·庚斯博罗，克劳德·洛兰，彼得·保罗·鲁本斯，安尼巴莱卡拉齐和雅各布面包车雷斯达尔。他还诗歌和布道中广泛阅读，后来证明是一个特别善于表达的艺术家。到1803年，他被展示在皇家艺术学院的绘画作品。

1802年他拒绝了绘画大师的位置在大马洛军事学院，其中一招本杰明·西（那么RA硕士）劝告就意味着他的职业生涯的结束。在这一年，警员写了一封信给约翰Dunthorne中，他阐述了他决心成为一个专业的风景画家：

“ 对于照片后，我一直在运行，并寻求在二手真相在过去两年......我没有努力表示与心灵的同一高度与我阐述了自然，但说我试图让我的表演看像其他人的工作......有足够的空间自然的画家。现今的巨大罪恶是炫耀的表现，试图做一些超出这个道理。

他的早期风格与他的成熟工作相关的许多特质，包括光线，色彩和触摸一种新鲜感，并揭示了他研究的老主人的成分影响显着的，克劳德·洛兰。[7]警员通常的科目，普通场景日常生活中，在这样一个时代，看起来野生景观和遗址的更浪漫的异象不合时宜。他更远的地方偶尔的旅行。

1803年，他几乎花了一个月登上东印度船库茨因为它走访东南部港口，并在1806，他承担了湖区的为期两个月的巡回演出。他告诉他的朋友和传记作家查尔斯莱斯利，即山上的孤独压迫他的精神，和Leslie写道：

“ 他的天性是特有的社会，不能觉得满意的风景，然而，在盛大本身，即没有在人类社团比比皆是。他要求村，教堂，农舍和小屋。

为了糊口，警员拿起写照，他发现平淡，虽然他执行了许多精美的画像。他还画偶尔宗教的图片，但根据约翰·沃克，“警察的无能宗教画家不能被夸大了。”

警员在夏季通过在伦敦的支出冬季和绘画的常规东Bergholt。在1811年他第一次参观了约翰·费希尔和他的家人在索尔兹伯里，一个城市的大教堂和周围的景观是激发了他的一些最伟大的画作。

警员悄悄的反抗教会了艺术家们用自己的想象力来撰写自己的照片，而不是浑然天成的艺术文化。他告诉莱斯利，“当我坐下来使自然界的草图，我尝试做的第一件事就是忘记我所见过的画面。”
虽然警员制作的绘画在他的一生为顾客和RA展览的“汉化”图片市场，在现场研究的形式不断刷新对他的工作方法至关重要。他从不满足于下面的公式。“世界宽”，他写道，“没有两天是一样的，甚至也不是有两个钟头。无论是有过一棵树的两片叶子，因为创造整个世界的一致好评;与艺术的真正作品，像那些自然，都是彼此不同的。“

康斯特布尔画他的风景画许多全面的初步草图，以测试组成提前完成的图片。这些大型草图，用自己的自由与活跃的笔法，是革命性的时候，他们继续兴趣的艺术家，学者和普通公众。该油草图中的一匹跃起的马和干草车，例如，传达出活力和表现力，从警员的科目相同的成品画失踪。可能比警员的工作的任何其他方面更多，油草图揭示他回想起来已经是一个前卫的画家，一个谁证明了山水画可以在一个完全新的方向服用。

警员的水彩画也为他们的时间非常自由的：几乎神秘的巨石阵，1835年，凭借其双彩虹，通常被认为是有史以来画的最伟大的水彩画之一当他在1836年展出它，警员追加一个文本标题：“神秘的纪念碑巨石阵，远程站在裸露的和无限的健康，尽可能多的悬空与过去的时代的事件，因为它是本的使用，带您回到超越所有历史记录成一个默默无闻完全未知的时期。“

除了全面的石油草图，警员完成景观和云的众多观察研究，立志成为他的大气条件下拍摄更科学。他的物理效应的力量，有时甚至在他在伦敦展出全尺寸画作明显; 在链码头，1827，例如，促使评论家写道：“大气拥有关于它的特点湿度，几乎面授希望一个保护伞“。

本草图自己是第一个直接从露天主题油类做过。为了传达光线和移动的影响，警员用碎笔触，常在小细节，这是他scumbled了更轻的通道，创造熠熠发光罩住整个景观的印象。其中最表现主义和强大的他的所有研究的是与雨云海景研究，布莱顿，这与削减黑暗的笔触在海上爆炸积云淋浴的即时捕捉涂一下1824。警员也产生了兴趣，画彩虹的影响，例如在从草地索尔兹伯里大教堂，1831年，并在东Bergholt平房，1833年。

天空的研究，他补充指出，经常在草图背面，对当时的天气条件下，光线的方向和时间，相信天空“的主旨，规模标准，而行政机关在一个山水画的情绪。“ [23]在这个习惯，他是众所周知的已通过的开创性工作的影响气象学家 卢克·霍华德在云端的分类; 他自己的副本警员的注解研究关于大气Phaenomena。由托马斯·福斯特表明他已经完全掌握气象术语 我已经做skying的一个很好的协议”，警员写信给费舍尔23月1821; “我决心克服一切困难，剩下的中，大部分艰巨的。”

警员曾在一封信中写道张国荣，“我的有限的，抽象艺术是每个树篱下被发现，并在每个车道，因此没有人认为它值得拿起。” 他也没想到如何影响他的诚实技术将变成是。康斯特布尔的艺术灵感不仅像同时代里柯和德拉克罗瓦，但巴比松画派，以及法国印象派十九世纪末期的。

John Constable was born in East Bergholt, a village on the river Stour in Suffolk, with Goldin and Ann (Watt). His father was a wealthy businessman boss Flatford Bergholt corn, Milton, and later, Dead M Muller in essex. Officer Goldin has a small number of shipments, the telegraph, which he moored Mistley in Stewart estuary, and used to transport corn in london. He was the cousin of Abram, a London tea merchant. Although the police officer is the second son of his parents, his brother is mentally retarded and John is expected to succeed his father in business. In a boarding school for a brief period after Lavin Namm, he went to Dedham, day school. The police had left the school after the corn business, but his brother Abram eventually took over the plant.
In his youth, the police took the amateur sketch surrounding Suffolk and Essex village, this is a large proportion of the theme of his art journey. These scenes, in his own words, "let me a painter, I am very grateful"; "the water from the mill dam, willow, old rotten planks, sticky posts and brick to escape, I love this thing." He was introduced to George Beaumont, a collector, who gave him a look at his prized Hagar and angel inspired by Claude, a police officer of the order of the day. Later, while visiting relatives Meader Sykes, he was introduced to the professional artist John Thomas Smith, who advised him to draw, but also advised him to stay in his father's business, rather than take the arts.
In 1799, the police persuaded his father to pursue his artistic career, and Goldin awarded him a small allowance. Entered the Royal Academy School as an intern, he took part in the life class and anatomical dissection, study and copy the old master. In this period, especially inspired him from painting works of Thomas Gensboro, Claude Loran, Peter Paul Rubens, Annibale Carracci and Jacob van Dahl gonzalez. He also read extensively in poetry and sermons, and later proved to be a particularly articulate artist. By 1803, he was shown at the Royal College of Art painting works.
In 1802 he rejected the master position in great Marlow military academy, one of which Benjamin Si (RA Master) advice means the end of his occupation career. In that year, the police wrote a letter to John Dunthorne, he expounded his determination to become a professional landscape painter:
"For the photos, I have been in operation, and seek the truth in the past two years in the secondary... I didn't work hard... And soul said the same height and I elaborated the nature, but that I'm trying to get my acting look like the work of other people...... there is enough space for natural painter. The great sin of today is to show off, to try to do something beyond that.
His early style was associated with many aspects of his mature work, including light, color and touch, a freshness, and revealed that he studied the influence of the old masters of the composition significantly, Claude Loran. [7] police officers usually subjects, ordinary scenes of everyday life, in such an era, it seems that the wild landscape and the ruins of a more romantic anomaly. He travels farther and farther.
In 1803, he spent nearly a month in India ship landed on the eastern Kurtz because it visited the southeastern port, and in 1806, he assumed the lake two month tour. He told his friend and biographer Charles Leslie, that the mountain of solitude oppressed his spirits, and Leslie wrote:
"His nature is peculiar to the society and cannot be satisfied with the landscape, however, in the grand itself, that is not in the human community everywhere. He asked the village, the church, the farmhouse and the cottage.
In order to live, the police picked up the portrait, he found a dull, although he performed a lot of beautiful portrait. He also painted occasional religious pictures, but according to John Walker, "the police's inability to religious painters cannot be overstated."
Police spent the summer in London spending the winter and painting the usual East Bergholt. In 1811 he made his first visit to John Fisher and his family in Salisbury, a city of the cathedral and the surrounding landscape is inspired by some of his greatest paintings.

The police quietly against the churches and artists use their imagination to write their own photos, but not like nature itself of art and culture. He told Leslie, "when I sit down to sketch the natural world, the first thing I try to do is forget what I've seen."
Although the police produced paintings during his lifetime for the customer and the RA Exhibition "Hanization" pictures at the scene in the form of market research is of vital importance to constantly refresh his working method. He was never satisfied with the following formula. "The world is wide," he wrote. "No two days are the same, not even for the next two hours. Whether it is a tree with two leaves, because the creation of the world's praise; and the real works of art, like those of nature, are different from each other. "
Constable painted many of his landscapes with a preliminary sketch to test the composition of the finished picture in advance. These large sketches, with their own free and active style, is a revolutionary time, they continued interest in artists, scholars and the general public. The oil sketch in a Leaping Horse and a hay cart, for example, to convey the vitality and expressive force, police officers from the same subjects finished painting missing. Perhaps more than any other aspect of the police's work, the oil sketch reveals that he is already an avant-garde painter in retrospect, who has proved that the landscape painting can be taken in a completely new direction.
The police watercolor for their free time is almost the mysterious Stonehenge, 1835, with its double rainbow, is generally considered one of the greatest watercolor painting in history when he exhibited it in 1836, police added a text title: "the mysterious monument in Stonehenge, remote station in the bare and infinite health, as much as possible and suspended times past events, because it is the use of, take you back to beyond all historical records into an unknown to the public completely unknown period. "
In addition to a comprehensive oil sketch, the police completed a lot of observation and observation of the landscape and cloud, determined to become more scientific shooting his atmospheric conditions. The effect of his physical strength, sometimes even in his paintings display full size obviously in London; in 1827, for example, the chain pier, prompting critics wrote: "the atmosphere has characteristics of humidity on it, almost want an umbrella face".
This is the first direct from their own outdoor theme oil done. In order to affect the light and mobile communication, the police with broken strokes, often in small details, this is his scumbled lighter channel, creating glittering enveloping the entire landscape impression. One of the most powerful expressionism and all his research is Brighton with nimbus seascape study, and this cut dark strokes in the sea cumulus shower instant capture explosion painted 1824. The police also became interested in painting a rainbow effect, for example in 1831 from the grassland of Salisbury Cathedral, and in the East Bergholt cottage, 1833.
The study, he adds, often in the sketch on the back, weather conditions, direction and time of light, I believe the sky "thrust, size standard, and the administrative organs in a landscape painting mood. "[23] in the habit, he is as everyone knows has been through the pioneering work of the Lu Ke Howard effect meteorologists in the cloud classification; note his own research on the atmospheric Phaenomena copy of the police. By Thomas Foster that he had mastered a good deal "I have to do skying meteorological term, the police sent a letter to Fisher 23 March 1821;" I am determined to overcome all the difficulties, the rest of the most difficult."
Police officer Leslie Cheung wrote in a letter, "my limited, abstract art is found by each hedges in each lane, and therefore, no one thinks it is worth picking up." He had no idea how it would affect his honesty. Constable's artistic inspiration not only as the same age Gericault and Delacroix, but the Barbizon school, and at the end of nineteenth Century the French impressionist.