1687543242000 1687515207000 Standard Record object-110009046 1747159857036 1699447914000 1747159409017 adlib fitz-online adlib-object-110009046 https://data.fitzmuseum.cam.ac.uk/id/object/110009046 9171b837-f976-3a29-9acd-cfcecb3019f0 4 person reference agent-29619 adlib-agent-29619 ef67fb8d-9a82-3301-9947-b8d0526effb3 Constable, John person reference agent-82139 adlib-agent-82139 5787a108-be4d-3fcb-adb7-368ca6d4dc85 Lucas, David content description This was the first draft of the prospectus for 'English Landscape', written by John Constable himself. The 'English Landscape' or 'Various Subjects of Landscape, Characteristic of English Scenery' was a project undertaken by John Constable and the printmaker, David Lucas. It comprised of twenty-two mezzotints, and was issued between June 1830 and July 1832. A second edition was also prepared alongside letterpress text. TRANSCRIPT: Prospectus of Mr. Constable’s English Landscape This work which is just completed consists of twenty two prints in Mezzotinto, or ‘’Chiar oscuro’’ , varying in size from eight to twelve inches in length. Engraved from pictures painted by John Constable Esq. R.A. By David Lucas --- English Landscape --- ‘’Rura mihi et rigui placeant in vallibus amnes Flumina amemm sylvasque inglorious.’’ Virgil ----- [En?]: Translation’’ The present specimens collection of subjects of English Landscape in ‘’chiaro scuro’’ after much pains and no inconsiderable expense bestowed upon them it are is at length completed; and [^] are now is offered to the notice of the world – not without some anxiety as to the kind of reception they will experience which it may meet with. The very favourable [?] in which they have been [?] opinion [^] however based upon them by professional and other intelligent friends [?] however both encouraged this publication at the same time that it has also served to lessen this anxiety in no small degree. The object with which this author has had in view is to display the [?] the ‘’Chiaro scuro of Nature’’; [?] to trace some of its endless variation and beauties and varieties; to point out its vast influence upon Natural Landscape and to show its power and use as a medium of expression [?] – satisfied that these qualities attributes [^] of it are to be met with in perhaps greater perfection here in this than any other country – and also that the features of this country itself [^] abundantly contain all that is so eagerly sought under foreign skies – he would willingly [?] and contribute lend his aid towards increasing the [^] love & consequent study and love of the beauties which lie beneath our own. [^] It would be most gratifying to him if He can [?] could flatter himself that his work [???] humble efforts in art had in any [?] [?] so to raise the estimation of English Scenery as to place it on the same footing [?] in respect to Landscape as that on which it has long stood with with regard to Poetry. Yet he is convinced that it will [^] eventually be [?] as acknowledged to be as capable of affording every material requisite for filling the canvas of the Landscape Painter as it has been found proved to be [?] supplying the finest imagery of [???] Poets to our best Descriptive Poets. It is surely to be regretted that the scenes with which we are surrounded - abounding as they do in Grandeur – and every description of pastoral beauty – [endeared] to us as they are by the most powerful [?] should be either overlooked - or else rejected as unsuited to the Classical Style – Why should not subjects purely English be made the vehicle of General Landscapes, and when embodied by its highest principles, be so rendered as to become legitimate & at the same time original and consequently Classical Art. In Art as in Literature there are two modes by which men arrive at distinction. In the one the student artist by close study of what others have accomplished - [and by [?] a & [?] of the crowd turned up by others) imitates, selects , and combines [^] [???] these various beauties – the other ‘’scoring delights’’ boldly seeks excellence at the [?] its primitive source Nature – the one contribute Imitative or at best or eclectic – the other [?] adding to the art – becomes original art – is received by /posterity as a benefactor/ - the results of the one are easily recognised and at once estimated – the advance of the other must necessarily (consequently) be slow – it is (being) the few only who are able to judge of immature excellence – original feeling – or genuine study – but [?] it is. Constable/EL/3/2/MS38-1953 1 accession number Constable/EL/3/2/MS38-1953 110009046 priref 110009046 uri https://data.fitzmuseum.cam.ac.uk/id/object/110009046 https://data.fitzmuseum.cam.ac.uk/id/object/110009046 reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum reference agent-29619 adlib-agent-29619 ef67fb8d-9a82-3301-9947-b8d0526effb3 Constable, John Length in 13.1 Width in 8.4 MS Prospectus for 'English Landscape' object OBJECT