The Artistry of Constable and Williams

Nature's Canvas and Melody: The serene and majestic depictions of the English countryside through John Constable and Ralph Vaughan Williams

Welcome to the 10th issue of The Art Dispatch!

As we enter the last week of July, a time of vacations and summer enjoyment in Sweden, I wanted to highlight two wonderful works of art that celebrate nature and rural scenery. For this issue, I've chosen John Constable's “The Hay Wain” and Ralph Vaughan Williams' “The Lark Ascending.” Both pieces beautifully depict the English countryside and share a connection through their serene and majestic portrayals of nature.

Constable's painting shows a peaceful scene of a cart crossing a river, highlighting the beauty and calm of the landscape. Similarly, Vaughan Williams' music, with its flowing violin melody and gentle orchestration, captures the peacefulness and grandeur of the countryside. Both works feel timeless and deeply connected to nature, making them a perfect pair.

You might have noticed that I skipped last week’s issue. I'm considering changing the newsletter schedule to a bi-weekly or possibly even monthly format based on your feedback. This change would give you more time to enjoy each issue individually and make writing and producing each issue more sustainable for me. I know it can be difficult to keep up with the many blogs and newsletters we read, and I may have been overly ambitious when I started this newsletter as a weekly publication.

Thank you for your understanding and continued support. Enjoy this issue and the beautiful works of art it features!

The Painting

The Hay Wain

John Constable's “The Hay Wain” is one of the most iconic paintings in British art history. Created in 1821, this masterpiece is not just a simple landscape; it encapsulates a deep sense of place, memory, and innovation that transcends the accusations of cliché often flung at it.

The painting depicts a rural scene on the River Stour between Suffolk and Essex, near Constable’s childhood home. At first glance, it shows a simple, idyllic view: a wooden cart (the “wain”) being pulled through a shallow stream, with a rustic cottage and lush greenery in the background. However, the real magic of “The Hay Wain” lies in its details and the emotions it evokes.

One of the most striking aspects of the painting is its size. At six feet across, it commands attention. This scale allows viewers to immerse themselves in the scene, almost feeling the breeze and hearing the water's gentle ripple. This physical presence is something that reproductions (often on tea towels, jigsaw puzzles, and ceramic plates for some reason) can never really capture.

Constable's technique also sets “The Hay Wain” apart. He was criticized in his time for his rough, unfinished style, but this very quality gives the painting its life. Instead of meticulously detailing every leaf, Constable used bold, broad strokes to convey the lushness of the foliage and the play of light. This method, known as scumbling, involves applying a thin layer of paint over a dried one, allowing the underlayer to show through. This technique creates a vibrant, textured surface that captures the dynamic essence of nature.

Constable's dedication to depicting nature as he saw it, rather than conforming to the classical ideals of his time, was revolutionary. He famously said, “I don't see any finish in nature,” reflecting his belief that nature's beauty lies in its raw, unpolished state. This approach was in stark contrast to the smooth, idealized landscapes popularized by artists like Claude Lorrain, whose works were considered the gold standard of landscape painting.

Interestingly, “The Hay Wain” had a significant impact on the French art scene. When it was exhibited at the Paris Salon in 1824, it caught the eye of Eugène Delacroix, a leading figure in the Romantic movement. Delacroix was so inspired by Constable's use of color and texture that he reportedly rushed back to his studio to rework his own paintings. This influence extended to the Impressionists, who admired Constable's ability to capture the fleeting effects of light and atmosphere.

Despite its later acclaim, “The Hay Wain” was not immediately successful. When it was first shown at the Royal Academy in London, it went largely unnoticed. Constable was not one to seek public approval actively, unlike his contemporary J.M.W. Turner, who often tailored his work to popular tastes. Constable's commitment to his vision sometimes made his career difficult, but it also ensured his lasting legacy.

One of Constable's most notable supporters was Sir George Beaumont, a founder of the National Gallery. Beaumont, however, did not fully appreciate Constable's innovative use of color. He preferred the brown tones of old master paintings, which were often the result of centuries of accumulated dirt and smoke. Constable, on the other hand, was determined to paint nature as he saw it, in all its vibrant, green glory. This commitment to realism was radical for its time and paved the way for future generations of artists.

Stour Valley, Flatford, Suffolk

“The Hay Wain” is not just a depiction of a specific place but also a reflection of Constable's personal memories and emotions. The scene recalls his happy childhood in rural Suffolk, a time and place he cherished deeply. This nostalgia is palpable in the painting, giving it an emotional depth that resonates with viewers even today.

Visiting the actual location of "The Hay Wain" can feel like stepping into the painting itself. The cottage, the mill pond, and the surrounding landscape still exist, offering a tangible connection to Constable's world. This enduring presence speaks to the timeless quality of his work and its ability to evoke a sense of place and history.

John Constable's “The Hay Wain” is much more than a picturesque landscape. It's a groundbreaking work that challenged the artistic conventions of its time and influenced future generations. Constable's dedication to capturing the true essence of nature, along with his innovative techniques, gave the “The Hay Wain” masterpiece status in British art.

“The Hay Wain” is currently housed in the National Gallery in London where vsitors can experience the grandeur of this six-foot-wide masterpiece in person.

The Music

Ralph Vaughan Williams, one of England's most cherished composers, was born on October 12, 1872, in Down Ampney, Gloucestershire. His music is deeply rooted in the English landscape and folk traditions, reflecting a profound connection to his homeland. Vaughan Williams studied at the Royal College of Music and later in Berlin with Max Bruch and in Paris with Maurice Ravel, which helped shape his distinctive style—a blend of English folk music and a rich, impressionistic orchestral palette.

One of Vaughan Williams' most beloved works is “The Lark Ascending,” composed in 1914 and revised in 1920. This piece for solo violin and orchestra is inspired by George Meredith's poem of the same name, which vividly describes the flight of a skylark over the English countryside. The music captures the essence of the bird's soaring flight and the serene beauty of the landscape below. The solo violin, often interpreted as the lark, rises and falls gracefully. The orchestral accompaniment, performed by the London Philharmonic Orchestra under the direction of Vernon Handley, is delicate and subtle, beautifully complementing the violin's lyrical lines played by David Nolan.

“The Lark Ascending” is imbued with a sense of nostalgia, especially poignant against the backdrop of World War I. It serves as a snapshot of the beautiful English countryside, and Vaughan Williams, passionate about preserving the folk tradition, incorporated folk melodies he collected from around Britain into his compositions. This dedication is evident in the way he writes for the violin, starting with a cadenza that rises ever higher, mirroring the lark's ascent described in Meredith's poem.

The piece's structure is innovative, with three cadenzas interwoven seamlessly into the composition. These passages, although meticulously written, give the impression of improvisation, allowing the violin to sing freely and imitate the lark's song. Vaughan Williams' use of techniques such as trills and chirping passages vividly brings to life the voice of the lark, making the violin truly soar.

I think “The Lark Ascending” and John Constable's painting “The Hay Wain” share a unique synergy, each enhancing the beauty and serenity of the other when paired. Both works are quintessentially English, celebrating the pastoral landscape and the simple, timeless pleasures of rural life. As Constable's “The Hay Wain” evokes a sense of peace, reminding us visually of the essence of the English country side, Vaughan Williams' "The Lark Ascending" paints an auditory picture of the same landscape. The music's gentle, flowing melodies and delicate orchestration mirror the visual beauty of Constable's work. The painting and the music immerses us into the English pastoral idyll.

In combining these two masterpieces, one can almost hear the lark's song while gazing at the peaceful scene of “The Hay Wain.”

I love pairings that underscore the timeless connection between visual art and music. It shows how both can evoke similar emotions and images. The serene, pastoral beauty captured by Constable and Vaughan Williams will forever resonate with us, teleporting us into a place where sight and sound blend seamlessly, creating a profound sense of calm and reflection

Bonus

Vaughan Williams was inspired by the 1881 poem of the same name by the English writer George Meredith.

I think these lines from the poem beautifully encapsulate the essence of the English countryside, illustrating its charm and vibrant life. Meredith's imagery paints a serene picture of rural landscapes teeming with natural beauty and agricultural life.

The woods and brooks, the sheep and kine
He is, the hills, the human line,
The meadows green, the fallows brown,
The dreams of labor in the town;
He sings the sap, the quicken’d veins;
The wedding song of sun and rains
He is, the dance of children, thanks
Of sowers, shout of primrose-banks,

Read the full “The Lark Ascending” poem by George Meredith here.