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“... Constable​ , as the V&A’s press release puts it, is ‘Britain’s best-loved artist’, and that in a way is the problem. (Constable: The Making of a Master is at the V&A until 11 January.) While his contemporary Turner bestrides the history of European art, Constable remains a largely domestic taste ...”

“... by an obscure one entirely because of its associational value. A small watercolour seascape by John Constable, though unfinished, trails clouds of reflected glory from the familiar Romantic landscapes and the atmospheric intensity of his big ‘six-footer’ canvases. If, however, paper analysis reveals it to be a work of the 1840s, probably by ...”

“... incentive to pretend that they were not fictions at all. There is good evidence, well presented by John Barrell in his dicussion of Gainsborough in The Dark Side of the Landscape, that increasing comfort was derived in the late 18th century from the belief that the hard-working, honest, loyal, loving families clustered around cottage doors which were admired ...”

“... was as exciting a painter of landscapes as his near contemporary Gainsborough, as influential on Constable as Gainsborough was, and the most important British predecessor of Turner. Many of the best British landscape painters of the generation after his were trained in his London studio, including William Marlow, Joseph Farington and, best of all, Thomas ...”

“... house-guest for most of his life, stands on the pre-professional side of the divide: Sir John Soane, architect of the Bank of England, professor of architecture at the Royal Academy, on the post-professional side. The careers Dorothy Stroud and Michael Wilson describe in their new biographies of Soane and Kent illustrate the division. James Gibbs had ...”

“... the most exciting times in the history of British painting. The two great landscapists Turner and Constable were developing their mature styles, the suave portraitist Lawrence and the startling fantasist Fuseli were at the height of their powers, and that embarrassing outsider William Blake was issuing book after book of illuminated prophecy. Farington ...”

“... needed prints of their works to spread their fame and standing. From 1829 until his death in 1837, John Constable grew increasingly preoccupied with printmaking and collaborated with the young engraver David Lucas to translate his oil sketches and paintings into 22 mezzotints, part of what would become known as English Landscape Scenery. Proofs ...”

“... According to John Constable, the trouble with self-taught painters was that they had such bad teachers. Creative writing workshops notwithstanding, every novelist is self-taught. An enduring reminder of this is Cervantes’s relationship with his equivocal double masterpiece Don Quixote, and the most persuasive analyst of both book and author remains E ...”

“... appalled audiences) at Bolton’s Octagon Theatre. One chain of events focuses on the Deputy Chief Constable of Manchester, Mr John Stalker, who was recently suspended for three months during an internal disciplinary investigation and subsequently reinstated by the lay Police Authority, despite the evident willingness of his ...”

“... who win Mastermind. Now his own long-heralded account of his experiences has been published. John Stalker had been Deputy Chief Constable of Greater Manchester Police for only two months when he was asked to conduct an investigation into matters arising out of three incidents in Northern Ireland, where Royal Ulster ...”

“... The catalogue of the Constable exhibition which opened at the Tate in June is probably the glossiest, the heaviest, the most unwieldy volume ever to accompany an exhibition of the work of a British artist. It is also one of the dullest. Leslie Parris and Ian Fleming-Williams have resisted the tendency of the last fifteen years or so by which the catalogues of major exhibitions have often been presented as major interpretative studies of the artist and his times ...”

“... to speak directly of the times we live in. ‘The Watering Place’ after Peter Paul Rubens by John Browne (1770) There is, however, nothing irrelevant about the new show at the Royal Academy, featuring Gainsborough, Constable and Turner; not because of anything it has to say about ‘the making of landscape’, but ...”

“... however, he was painting. His first inspiration came, apparently, through exposure to the works of John Constable in 1839; within a few years he was painting the small studies of everyday urban sites that include some of his best known work but which began to emerge from his studio only around the turn of the century, just before his death in 1905. Rear ...”

“... scale, the Police inquiry had to be on a grand scale too. No less a VIP than the Deputy Chief Constable of the biggest provincial Police Force in Britain – Greater Manchester – was called in to command it. John Stalker was an excellent choice. Nothing in his life had distinguished him as a subversive. It is true ...”

“... paying a price for it in the form of global warming, acid rain and so forth. Over a century ago, John Ruskin was arguing that Cartesian (‘modern’) thought had destroyed man’s reverence and wonder in the face of the external world, and that the death of God-in-nature would eventually bring the end of nature. Gore’s book is squarely in this ...”