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Elegant description of what painting can be… (Patreon)

Published:
2023-01-11 16:56:08
Imported:
2026-06
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Content

Short video from the Frick Collection

Files

Previews only

Curators Reflect: Constable’s “Study for ‘The Leaping Horse’”

Reflecting on the only oil painting in “The Eveillard Gift”—on view at Frick Madison through February 26—Curator Aimee Ng analyzes John Constable’s deft brushwork and how, in this small oil sketch, the artist evokes the richness and vitality of the larger painting to come. Learn more about the exhibition and plan your visit today: https://www.frick.org/exhibitions/eveillard John Constable (1776–1837) “Study for ‘The Leaping Horse,’” ca. 1824–25 Oil on canvas 8 3/8 x 10 5/8 inches Promised gift from the Collection of Elizabeth and Jean-Marie Eveillard Photographs by Joseph Coscia Jr. Producer: Aimee Ng Director/Editor: Courtlin Byrd Director of Photography: George Koelle Audio Production: Sean Troxell Original Music: Courtlin Byrd Editorial: Noah Purdy © 2023 The Frick Collection

Comments

Anonymous

Thank you for sharing this.

Anonymous

Thanks Michael, I’ve enjoyed a lot of the Frick’s art history talks over the last couple of years. Really looked forward to the weekly talks during the first year of the pandemic. They are such a great resource for artists

Anonymous

Thanks Michael, I am visiting the USA in May this year {from Australia} and hope to get to the Frick if it is open? I am also hoping to get to the New Salem Museum which is at the top of my bucket list. So I hope it is open by then as it will be my big chance to see it. I remember you talking about it when you were in Florence so it is absolutely wonderful to see it come to fruition.

Anonymous
>>99411149

Thanks so much I will let you know , we are staying in Boston and will probably get an Uber out there, do you perhaps know if there are Uber drivers around the town or taxis to get back to Boston?

Anonymous

Yes, thank you Michael (and I'm happy to learn from Barbara Efchak about the Frick's art history talks). This brief description of Constable's sketch reminds me of your saying (after the 2nd or 3rd session of "white-on-white roses") that "the painting was ready to snap into the realm of Realism with brushstrokes." That characterization is the great dividing line -- and maybe it begins with Constable. I live near the British Museum of Art at Yale which has quite a few of Constable's cloud studies. Looked at them for years -- now I'm eager to look again. About his study of clouds he wrote that "we see nothing until we understand it". Seems so obvious now: before the 19th century, no visible brushstrokes, after that . . . all this dazzling, deft, swift, swishing surface play and yet fidelity to the thing itself. I suppose it's inexhaustible.

pochade_palette
>>99411149

Renting a car would be easiest, look into discovering the Clark museum in Williamstown MA as well. It’s worth the visit especially driving out this way from Boston.