Romanticism · 1776–1837 · British

John Constable

Constable flicked touches of pure white onto his landscapes to catch light glinting on wet leaves and water; critics called it “Constable's snow”.

Across 3 works, the colors are mostly brown (60%), black (14%) and gray (13%). On average the canvases are mid-toned, moderately saturated and warm. Signature colors, used far more here than across the collection: rich ochre, dark golden umber, dark brown, rich amber ochre and dark olive.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 219 bistre 8.6% of canvas
• MG 177 dark taupe 5.2% of canvas
• MG 185 dark golden umber 4.8% of canvas
• MG 169 dark brown 4.4% of canvas
• MG 184 umber 4.0% of canvas
• MG 168 dark amber brown 3.8% of canvas
• MG 223 soot 3.4% of canvas
• MG 172 oatmeal 3.4% of canvas
• MG 176 taupe 3.2% of canvas
• MG 194 dark golden olive 3.1% of canvas
• MG 195 dark olive 3.0% of canvas
• MG 213 light grey 2.8% of canvas
• MG 186 dark umber 2.7% of canvas
• MG 206 silver 2.7% of canvas
• MG 212 pale grey 2.6% of canvas
• MG 171 bone 2.6% of canvas

Measurements

Lightness

0.49

Contrast

0.61

Vividness

0.037

Warmth

+0.90

Complexity

194 cells

Hue range

0.41

Focus

0.03

Works

• The Hay Wain, 1821
• Salisbury Cathedral from the Bishop's Grounds, 1823
• The Cornfield, 1826