Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1981.25.118
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
dark | sky | landscape | study (visual work) | boat | cathedral | building | trees | river
Associated Places:
Dedham | Essex | England | United Kingdom | Stour
Currently On View:
Not on view
Exhibition History:
The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of New South Wales, 1998-05-01 - 1998-07-05)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Queensland Art Gallery, 1998-07-15 - 1998-09-06)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15)Constable's England (The Metropolitan Museum of Art, 1983-04-13 - 1983-09-04)John Constable - A Selection of Paintings from the Collection of Mr. and Mrs. Paul Mellon (National Gallery of Art, 1969-04-30 - 1969-11-01)
Publications:
Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 58-59, N590.2 .A83 (YCBA)Malcolm Cormack, Constable, Cambridge University Press, Cambridge, UK & New York, NY, 1986, pp. 106-9, pl. 104, NJ18 C74 C75 OVERSIZE (YCBA)Sir Howard Hodgkin, Howard Hodgkin : paintings, 1992-2007, Yale University Press, New Haven, 2007, pp. 78-83, figs. 30 (detail) and 31, NJ18 .H647 A12 2007 (YCBA)Charles John Holmes, Constable and his influence on landscape painting, Archibald Constable and Company, Limited, Westminster, UK, 1902, p. 248, Folio A N80 (YCBA)Robert Hoozee, L'opera completa di Constable, 98, Rizzoli, Milano, Italy, 1979, p. 112, no. 259, NJ18 C74 A12 +H66 (YCBA)John Constable : a selection of paintings from the Collection of Mr. and Mrs. Paul Mellon, , National Gallery of Art, Washington, DC, 1969, pp. 34-35, no. 30, NJ18 C74 U5 (YCBA)Julia Marciari-Alexander, This other Eden : Paintings from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1998, p. 136, no. 54, ND1314.3 Y36 1998 (YCBA)Painting in England 1700-1850 : collection of Mr. & Mrs. Paul Mellon : Exhibition at the Virginia Museum of Fine Arts, , , Virginia Museum of Fine Arts, Richmond, VA, 1963, p. 79 (v.1), no. 105 (v.1), pl. 45 (v.2), ND466 V57 v.1-2 (YCBA)Leslie Parris, The Later Paintings and Drawings of John Constable, Book Review , Burlington Magazine, vol. 127, March 1985, p. 165, N1 B87 + (YCBA)Leslie Parris, The Tate Gallery Constable collection : a catalogue, , Tate Britain, London, UK, 1981, pp. 101-02, fig. 3, NJ18 C74 P374 + (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)Graham Reynolds, Constable's England, The Metropolitan Museum of Art, New York, NY, 1983, p. 70-1, no. 20, NJ18 C74 R496 (YCBA)Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, p. 65 (v. 1), no. 20.92, pl. 211, NJ18 C74 R485 + (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, p.13 (v.1), no. 44, ND466 Y35 (YCBA)
Gallery Label:
This is one of the relatively small studio sketches which Constable used as stepping stones toward far more ambitious landscape paintings, of which Stratford Mill in the next bay, a full-scale sketch for the “finished” painting (National Gallery, London) demonstrates the penultimate stage of the artist’s long, careful and deliberate process of compositional refinement. In this case, there exist a number of versions of this preliminary treatment of Dedham Lock none of which ever made it to the next stage. Constable chose instead to broaden his composition to encompass the neighboring mill (which belonged to his family business), and to embark upon a more complex view of Dedham from a vantage point thirty paces or so further distant from the lock. A full-scale, unfinished sketch for the resulting Dedham Lock and Mill, ca. 1816–17, is in Tate (London), while the finished or “exhibition” version is in a private collection. Gallery label for installation of YCBA collection, 2005