Hadleigh Castle, The Mouth of the Thames--Morning after a Stormy Night

John Constable, 1776–1837, British, Hadleigh Castle, The Mouth of the Thames--Morning after a Stormy Night, 1829

Creator:: John Constable, 1776–1837
Title:: Hadleigh Castle, The Mouth of the Thames--Morning after a Stormy Night
Former Title(s):: Hadleigh Castle [1985, Cormack, YCBA Concise Catalogue]
Date:: 1829
Materials & Techniques:: Oil on canvas
Dimensions:: 48 × 64 3/4 inches (121.9 × 164.5 cm), Frame: 59 1/2 × 76 1/4 × 4 inches (151.1 × 193.7 × 10.2 cm)
Credit Line:: Yale Center for British Art, Paul Mellon Collection
Copyright Status:: Public Domain
Accession Number:: B1977.14.42
Classification:: Paintings
Collection:: Paintings and Sculpture
Link to Frame:: B1977.14.42FR
Subject Terms:: architectural subject | birds | boats | castle | clouds | cows | death | dog (animal) | estuary | hills | landscape | light | melancholy | men | metaphor | meteorology | morning | path | river | ruins | science | shepherd | storm | walking
Associated Places:: England | Essex | Hadleigh | Hadleigh Castle | Southend-on-Sea | Thames | Thames Estuary | United Kingdom
Access:: On view at the Yale University Art Gallery
Link:: https://collections.britishart.yale.edu/catalog/tms:5001
Export:: XML
IIIF Manifest:: JSON

The ruins of Hadleigh Castle stand on the northern shore of the Thames estuary, overlooking the stretch of water known as the Nore, where the river meets the sea. Merchant ships come and go across the Nore, plying their trade with the far corners of the empire, a powerful contrast between modern civilization and the ruins of the feudal culture of the Middle Ages. John Constable made drawings at Hadleigh in 1814, remarking in a letter that he was “always delighted with the melancholy grandeur of the sea shore.” His grief following the death of his wife, Maria, in 1828, moved him to paint the view on a grand scale. He would be desolate and depressed, likening himself to a ruin, for the rest of his life. Looking toward the open sea, which gleams in the sunlight bursting through the clouds, his painting suggests the grief of a bereaved Christian looking toward heavenly consolation.

Gallery label for installation of YCBA collection, 2016

Hadleigh Castle is one of John Constable’s iconic “six-footers,” a series of large exhibition canvases that he began around 1818–19. The painting is a late example of the Romantic taste for ruins, which became popular symbols of the transience of human life and handiwork, as well as emblems of the picturesque and sublime. Other watercolors in this exhibition by Joseph Mallord William Turner and Thomas Girtin offer earlier examples of this aesthetic. However, Constable’s take on the subject is unique: he balances the imposing architectural fragments and the tempestuous sea and sky with the pastoral motifs that dominated his earlier landscapes, such as the shepherd and his herd. A full-size sketch for this composition is at Tate Britain, London; also surviving are three small sketches, one of which is in oil and on display in The Critique of Reason.

Gallery label for the Critique of Reason: Romantic Art (Yale Center for British Art, 2015-03-06 - 2015-07-26)

The ruins of the medieval Hadleigh Castle stand on the northern shore of the Thames estuary, overlooking the stretch of water known as the Nore, where the river meets the open sea. Constable made drawings there in 1814, remarking in a letter that he was “always delighted with the melancholy grandeur of a sea shore.” He was moved to paint the view on a grand scale by his grief over the death of his wife Maria in 1828. He was to be desolate and depressed, a ruin of a man—he used this image himself—for the rest of his life. Looking toward the open sea, which gleams in the sunlight bursting through clouds, his painting suggests the grief of the bereaved Christian looking toward heavenly consolation.

Gallery label for An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29)

The ruins of Hadleigh Castle stand on the northern shore of the mouth of the Thames, overlooking a stretch of water known as the Nore. Constable made drawings there in 1814, remarking in a letter that he was "always delighted with the melancholy grandeur of a sea shore." He was moved to paint the view on a grand scale by his grief over the death in 1828 of his wife, Maria. He was desolate and depressed for the rest of his life, a ruin of a man, he called himself. While dwelling on the decay of the medieval building in its pastoral setting, and causing the estuary to gleam under grand shafts of sunlight, Constable also alludes to the ancient Christian metaphor of death: all his boats point downstream and, receding, sail out to sea.

Gallery label for installation of YCBA collection, 2005

In the famous letter of 23 October 1821 to his friend Archdeacon Fisher, John Constable reported: "I have not been Idle and have made more particular and general study than I have ever done in one summer, but I am most anxious to get into my London painting room, for I do not consider myself at work without I am before a six foot canvas" (Constable, Correspondence, p. 76). To some extent, the scale of Constable's great "six-footer" landscape paintings reflected both his high aspirations for landscape in general, and his desire for professional recognition and financial security. Yet Hadleigh Castle, which comes relatively late in the sequence of six-footers, in 1829, is among his least characteristic landscape views on a grand scale. Compared with The White Horse (1819; Frick Collection, New York), Stratford Mill, The Hay Wain (1820 and 1821; both National Gallery, London), and other paintings, each with its determined avoidance of heroic elements of the picturesque, each with its affectionate embrace of the seemingly commonplace features of rural life, Hadleigh Castle stands apart. The foreground vantage point is elevated and offers no convenient path into the difficult topography that descends toward the river flats to the right. The ruined castle clings to a rocky escarpment that winds into the distance and separates shepherd and cowherd and, presumably, their flock and herd. On the right, the Thames estuary opens out to the east, creating an immense, flat, gleaming distance beneath lowering clouds and theatrical slanting rays of morning sunlight. It is a landscape of revelation, not of domesticity.

Constable had visited Hadleigh in the summer of 1814 and in a letter to his wife, Maria, described the place as "a ruin of a castle which from its situation is really a fine place.-.it commands a view of the Kent hills, the Nore [the stretch of water beyond the mouth of the Thames] and the North Foreland & looking many miles to sea" (Constable, Correspondence, vol. 2, p. 127). He drew the place in his sketchbook (Victoria & Albert Museum, London) and appears not to have considered the subject again until fourteen years later, when, in about 1828, he worked up a small oil sketch (Paul Mellon Collection, ycba) and embarked upon the present composition (1829), by way of his accustomed, full-scale six-foot study (ca. 1828.-.29; Tate, London). He may have been prompted toward the unusually dramatic subject, with its hints at decay and regeneration, by the death from tuberculosis of his beloved wife in November 1828, but it seems that his election, at long last, in February 1829 to full membership of the Royal Academy may also have led Constable to consider the advantages of exhibiting a subject more conventionally picturesque and heroic than might otherwise have attracted him. These two immense changes in his working and personal life obviously went hand in hand. With leaden tact, Sir Thomas Lawrence, the President, had told Constable that he should consider himself lucky to have been elected to the Academy at all, since he had been competing against several talented history painters. Constable's status as an "R.A." therefore had the effect of raising the stakes, and Hadleigh Castle may well reflect his desire to adjust his manner of landscape painting in view of the expectations arising from this new professional challenge, made twice as difficult by the grief he suffered after the death of Maria. To some extent he remained desolate and depressed for the rest of his life.-.he called himself a ruin of a man. While dwelling on the decay of the medieval building in its pastoral setting and causing the Thames estuary to shine under grand shafts of light, Constable perhaps also alludes to the ancient Christian metaphor of death: all his boats point downstream and, receding, sail out to sea.

Angus Trumble

John Baskett, Paul Mellon's legacy: a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 288-9, no. 100, N5220 M552 P38 2007 OVERSIZE (YCBA)

The ruins of the thirteenth-century Hadleigh Castle stand on the northern shore of the Thames estuary, overlooking the stretch of water known as the Nore, where the river meets the open sea. Constable shows the view looking southeast from the castle, with the tower of St. Clement's, Leigh-on-Sea further along the near shore, the shoreline and hills of Kent in the distance opposite, and the town of Sheerness on the far right. He first visited this spot in 1814 and wrote admiringly of the view in a letter to his fiancée Maria Bicknell: "At Hadleigh there is a ruin of a castle which from its situation is really a fine place-it commands a view of the Kent hills the nore and the north foreland & looking many miles to sea." In the same letter he mentions a walk on the beach at nearby Southend-on-Sea, remarking that he was "always delighted with the melancholy grandeur of a sea shore."1 He made a rough drawing of the scene at Hadleigh in a sketchbook, and this was to serve as the basis for the present large exhibition picture, painted some fifteen years later-one of the series of "six-footers" that the artist considered his most important contributions to the art of landscape painting.

When Constable first showed the painting at the Royal Academy exhibition of 1829, he had the following lines from James Thomson's poem The Seasons printed in the catalogue:

The desert joys

Wildly, through all his melancholy bounds

Rude ruins glitter; and the briny deep,

Seen from some pointed promontory's top,

Far to the dim horizon's utmost verge

Restless, reflects a floating gleam.

The association of ruins with desolation and melancholy was by this time a commonplace of art and literature. In the Romantic imagination ruins were awe-inspiring, or "sublime," because they suggested the shortness of human life as against the passage of the ages and showed the ravages visited by time upon even the sturdiest works of mankind; they were a memento mori, a symbol of universal decay. Through his choice of viewpoint in Hadleigh Castle, Constable sets his ruins against a scene full of the grandeur and power of nature: the ?ow of the mighty river toward the in?nite "briny deep," the drama of morning sunlight bursting through clouds. As the painting's subtitle tells us, there has been a storm in the night, and the craggy remains of the castle appear as though lashed by wind and rain, perhaps even struck by lightning.

Beyond its general significance as an image of transience, there is little doubt that Constable thought of Hadleigh Castle as autobiographical. His beloved Maria, whom he married after a long engagement in 1816, died of consumption in November 1828. He was left desolate and depressed, a ruin of a man-he used this metaphor himself-for the rest of his life. "Hourly do I feel the loss of my departed Angel," he wrote in December 1828. "I shall never feel again as I have felt. The face of the world is totally changed to me."2 He began Hadleigh Castle in January or February 1829; and it seems likely, given his deep grief and abiding Christian faith, that he would have thought of this view from ruins to distant open sea as a view, in spiritual terms, from grief toward consolation. The sunbursts and "floating gleam" on the horizon suggest the light of heaven and the bereaved's hope of reunion in the afterlife, while the Nore, between river and sea, serves as an image of the passage from earthly to eternal realms.

Malcolm Warner

Julia Marciari-Alexander, This other Eden, paintings from the Yale Center for British Art , Yale Center for British Art, New Haven, CT, 1998, pg.146, Fig. 59, ND1314.3 Y36 1998 (YCBA)

Created by John Constable (1776-1837), the artist; purchased at auction by Walter Benjamin Tiffin (1795-1877), 434 West Strand, London, England at Foster’s, May 15-16, 1838 (lot 78, 'Hadleigh Castle'), in "Finished works, studies and sketches, of John Constable" [a]; acquired by Joseph Hogarth (1801-1879) [1] [b]; purchased at auction by "Britton" at Christie & Manson, London, England, June 13, 1851 (lot 46, 'Hadleigh Castle, Looking Towards the Nore') in "English Pictures, of the Very Highest Class" [2] [c]; … ; acquired by Louis Huth (1821-1905), Possingworth Park, Cross in Hand, Waldron, East Sussex, by 1863 and to at least 1888 [3]; … ; private collection, United States to 1960 [4]; acquired by Thomas Agnew & Sons Ltd., London, England by 1961; purchased by Paul Mellon (1907-1999), 1961 [d]; by whom given to the Yale Center for British Art, New Haven, CT, 1977.

Notes:
[1] Hogarth assembled a collection as source material for his multi-volume The royal gallery of British art, https://collections.britishart.yale.edu/catalog/orbis:5454716. The cover to his anonymous June 13, 1851 sale states this explicitly: "Chef-d'oeuvres of nearly all the most distinguished Artists–formed with a view to be Engraved IN THE ROYAL GALLERY OF BRITISH ART." Constable's Hadleigh Castle is listed there as indeed being "engraved" for the series.

[2] Graham Reynolds in his catalog raisonne suggests Hogarth bought in the work at Christie's through the agent "Winter," insofar as a collection of mezzotints published in 1855 still claims Hogarth owned Hadleigh Castle. See English Landscape Scenery (Convent Garden: Henry G. Bohn, 1855), https://archive.org/details/gri_33125010875488/page/n9. Algernon Graves's index of sales also invokes Winter, https://archive.org/details/graves-art-sales-vol-1/page/124. Recent comparison of two copies of the catalog–one at the National Gallery, one at the library of the Netherlands Institute for Art History (RDK)–reveals "Winter" is likely a corruption of "Britton." The inscription in the RDK copy is unambiguously "Britton." The inscription in the National Gallery copy–which Graves and/or Reynolds may have consulted–is hasty enough to be read either way. Unlikely to be the antiquary and topographer John Britton (1771-1857), who was penurious near death, see https://doi.org/10.1093/ref:odnb/3458. No other suitable Britton has yet been found.

[3] When it was exhibited by Huth in 1863 at the British Institution in Pall Mall and in 1888 at Grosvenor Gallery. See A Century of British art from 1737-1837, ed. F.G. Stevens (London: Henry Good & Son, 1888), 10, https://archive.org/details/ACenturyOfBritishArt17371837GrosvenorGalleryWinterExhibition1888/page/n9.

[4] An exhibition catalog by The Arts Council of Great Britain published as late as 1959 still refers to "the picture by Constable exhibited at the Royal Academy in 1829" as "now lost" and "last heard of in 1888." See The Romantic Movement; fifth exhibition to celebrate the anniversary of the council of Europe. 10 July to 27 September 1959 (London: The Arts Council of Great Britain, 1959), 91-92, https://archive.org/details/romanticmovement0000vari_x4e7/page/90.

Citations:
[a] Foster's. May 15-16, 1838. Finished works, studies and sketches, of John Constable. https://doi.org/10.1163/2210-7886_ASC-15074

[b] Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, p. 199 (v.1), no. 29.1 https://collections.britishart.yale.edu/catalog/orbis:582470

[c] Christie & Manson. June 13, 1851. A Most Important Collection of English Pictures, of the Very Highest Class. https://doi.org/10.1163/2210-7886_ASC-20411

[d] Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, p. 199 (v.1), no. 29.1

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Leslie Parris, Constable, Tate Publishing, London, UK, 1991, pp. 312-4, fig. 84, NJ18 C74 P372 1991 + (YCBA) [YCBA]

Leslie Parris, The Tate Gallery Constable collection : a catalogue, , Tate Britain, London, UK, 1981, pp. 128-33, fig. 1, NJ18 C74 P374 + (YCBA) [YCBA]

Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 P381 2007 OVERSIZE (YCBA) [YCBA]

Christiana Payne, Where the sea meets the land : artists on the coast in nineteenth century Britain, artists on the coast in nineteenth century Britain , Sansom & Co., Bristol, UK, 2007, ND1373 G7 P38 2007 (YCBA) [YCBA]

Graham Reynolds, Constable's England, The Metropolitan Museum of Art, New York, NY, 1983, pp. 160-1, no. 58, NJ18 C74 R496 (YCBA) [YCBA]

Graham Reynolds, Constable, the natural painter, Panther, St. Albans, UK, 1976, pp. 17, 111-12, , NJ18 C74 R48 1976 (YCBA) [YCBA]

Graham Reynolds, English Landscape 1630-1850, Apollo, vol.105, April 1977, p. 276, N1 A54 105:2 + (YCBA) [YCBA]

Graham Reynolds, John Constable : Struggle and Success, , Apollo, vol. 103, no. 170, April 1976, pp. 323-4, N1 A54 + OVERSIZE (YCBA) [YCBA]

Graham Reynolds, Scene and Sensibility, TLS, the Times Literary Supplement, , April 29, 1983, p. 438, TLS Historical Archive [ORBIS]

Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, vol. 1, pp. 199-200, no. 29.1, pl. 704 (vol. 2), NJ18 C74 R485 + (YCBA) [YCBA]

Michael Rosenthal, Constable, Thames and Hudson, London, UK, 1987, pp. 176-8, 206, fig. 169, NJ18 C74 R683 (YCBA) [YCBA]

Michael Rosenthal, Constable, the painter and his landscape, Yale University Press, New Haven, CT, 1983, pp. 214-21, figs. 245, 247, NJ18 C74 R68 OVERSIZE (YCBA) [YCBA]

Lindsay Rothwell, Paul Mellon's legacy : an American's passion for British art : Sackler Wing of Galleries, 20 October 2007 - 27 January 2008 : an introduction to the exhibition for teachers and students., , Royal Academy of Arts, London, UK, 2007, pp. 5-8, no. 100, V 2038 (YCBA) [YCBA]

Jessica Skwire Routhier, Thomas Cole’s Journey Atlantic Crossings, https://www.antiquesandthearts.com/thomas-coles-journey-atlantic-crossings/ , Antiques and the Arts Weekly, January 16, 2018, Available Online [ORBIS]

Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, , May 20, 1977, p. 620, TLS Historical Archive [ORBIS]

Science and Feeling in Constable's Hadleigh Castle, The Times (London), January 26, 1965, p. 15, Times Digital Archive [ORBIS]

Alan Sorrell, Hadleigh Castle : To the Editor of the Times, , The Times (London), March 1, 1946, p. 5, Times Digital Archive [ORBIS]

Denys Sutton, Principles and Priorities in British Art, Apollo, v. 122, no. 283, September, 1985, pp. 192-3, no. 37, N1 A54 + (YCBA) [YCBA]

Denys Sutton, Some English Landscapes in Mr. Mellon's Collection, Apollo, vol. 77, April 1963, pp. 268, 282, frontpiece, N1 A54 + (YCBA) [YCBA]

Basil Taylor, Constable : paintings, drawings and watercolours, , Phaidon, London, UK, 1973, pp. 10, 30, 206-7, no. 121, NJ18 C74 T39 + (YCBA) [YCBA]

The critique of reason : Romantic art, 1760-1860 : March 6-July 26, 2015, Yale University Art Gallery, Yale University Art Gallery, New Haven, 2015, [pp. 6, 7], fig. 9, V 2574 (YCBA) [YCBA]

The Exhibition at the Royal Academy, London Magazine, vol. 3, June 1829, pp. 606-7, British Periodicals [ORBIS]

The Grosvenor Exhibition (First Notice), Athenaeum, , January 14, 1888, p.56, British Periodicals [ORBIS]

The Grosvenor Exhibition (Second Notice), Athenaeum, , January 28, 1888, p. 122, British Periodcals [ORBIS]

The Grosvenor Gallery : "A Century of British Art", , Glasgow Herald, Glasgow, Scotland, January 4, 1888, p. 4, British Library Newspapers [ORBIS]

The Literary Examiner : review of Memoirs of the Life of John Constable, Esq., R.A., composed chiefly of his Letters. By C.R. Leslie, R.A. Longman and Co., , Examiner, , London, September 27, 1845, p. 612, British Library Newspapers [ORBIS]

The romantic landscape print : the chiaroscuro of nature, , Yale Center for British Art, New Haven, CT, 2002, no. 14, V 0998 (YCBA) [YCBA]

John E. Thornes, John Constable's skies : a fusion of art and science, , University of Birmingham Press, Birmingham, UK, 1999, pp. 136-7, pl. 54, NJ18 C74 T56 1999 (YCBA) [YCBA]

William Vaughan, John Constable, Tate Publishing, London, 2015, pp. 80, 83, 100, fig. 55, NJ18.C74 V28 2015 (YCBA) [YCBA]

Malcolm Warner, Great British paintings from American collections : Holbein to Hockney, , Yale Center for British Art, New Haven, CT, 2001, pp. 166-167, no. 48, ND464 W27 2001 (YCBA) [YCBA]

Malcolm Warner, The Paul Mellon Bequest : treasures of a lifetime, , Yale Center for British Art, New Haven, CT, 2001, p. 36, N5247 M385 P28 2001 (YCBA) [YCBA]

Scott Wilcox, Sun, wind, and rain : the art of David Cox, Yale University Press, New Haven, 2008, p. 53, fig. 40, NJ18 .C829 W542 + Oversize (YCBA) [YCBA]

Timothy Wilcox, Constable and Salisbury : the soul of landscape, , Scala Publishers, London, UK, 2011, pp. 161-4, fig. 131, NJ18.C74 W53 2011 Oversize (YCBA) [YCBA]

John Wilmerding, Essays in honor of Paul Mellon, collector and benefactor : Essays, , National Gallery of Art, Washington, DC & Hanover, NH, 1986, pp. 4-5, fig. 2, N7442.2 M455 1986 (YCBA) [YCBA]

Richard Wollheim, Painting as an art, Thames and Hudson, London, UK, 1987, p. 87, no. 70, ND1440 W78 (YCBA) [YCBA]

Jonathan Wordsworth, William Wordsworth and the age of English romanticism, Rutgers University Press, New Brunswick Grasmere, UK, 1987, pp. 179-80, 232, no. 273, fig. 168, PR5885 W67 1987 (YCBA) [YCBA]

Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, p. 39, N590.2 A82 (YCBA) [YCBA]

Yale University Art Gallery, Painting in England, 1700-1850, from the collection of Mr. and Mrs. Paul Mellon : [exhibition at] Yale University Art Gallery, April 15-June 20, 1965, , vol. 1, W. Clowes and sons, New Haven, 1965, pp. 9-10 (v. 1), 4 (v.2), no. 32, ND466 Y35 (YCBA) [YCBA]

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