PROJECT
ABOVE Willy Lott’s
House in Suffolk,
the subject of The
Hay Wain
LEFT Rob Dudley,
Bulrushes at
Flatford, oil on
board, 25x30cm
muchadditionalinspiration,butalso
becauseConstablehimselfledthe
way.Apartfromhisinnovative
painterlytechniques,hisattitude
topaintingwasexemplary.
Nevertheless,TheHayWain
wasnotatallwellreceivedatfirst.
Althoughtocontemporaryeyesit may
appeartraditional,in 1821 it was
highlyunconventional,breakingthe
traditionsoftheOldMasters.
Constablehadstudiedthemand
learneda greatdeal,buthehadhis
ownideasaboutwhat– andhow–
hewantedtopaint.
HeadoredhisnativeSuffolk
countryside,andwantedtorepresent
it accuratelyinhispaintings.Thiswas
hisfirstdeparturefromthenorm:
figurativelandscapepaintings
portrayingdailylifewere
unfashionableatthetime.Healso
observednatureclosely,choosing
ABOVERobDudley,
Bulrushesat
Flatford(detailin
progress)
“Thebulrushon
therightwas
pointingtowards
thetreeand
provingdistracting.
Focuswasrestored
quicklywitha few
choicestrokes.”
fresh,bright,naturalgreens,
contrastingthesewithsplashes
ofbrightredtoenliventheimages
- a radicalchoiceofpalette.
Hisbrushworktoowasnovel;
heusedveryloose,broadbrush
strokes,andevenscrapedpaint
acrossthecanvas.
Undeterredbyhiscritics,
herebelledagainsttradition.
Subsequentlyhewasvindicated,
whentheartworldrecognisedthe
valueofhistechniquesandattitude.
Hisextraordinarypaintingsarenow
consideredtobeamongstthemost
beautifullandscapes,andTheHay
Wainoneofthenation’sfavourite
paintings.Constablepointedtheway
forgenerationsoflandscapepainters
tocome.
So,whatcanwelearnfromtackling
hismostfamoussubject?Hereare
ourtwotakesonit.
TAKEONE
ROB DUDLEY’S
BULRUSHES AT
FLATFORD
FINDINGTHEANGLE
DecidingwhattopaintatFlatfordMill
endedupbeinganeasydecision.
I decidedtoapproachthechallenge
inthespiritofConstableandpaint
whatinspiredme.
I triedtoputtoonesidemy
memoryofa thousandHayWain
biscuittins,jigsawsandfridge
magnets,andinsteadapproachthe
locationasI wouldanyother:
Painting any such iconic
subject can be intimidating