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  1. Colección/
  2. Museo de Victoria y Alberto/
  3. A Donkey with a Foal: Study for <i>The Cornfield</i>
A Donkey with a Foal: Study for <i>The Cornfield</i>, John Constable, ca. 1826
John Constable, retratoJohn ConstableReino Unido, 1776–1837

A Donkey with a Foal: Study for <i>The Cornfield</i>

ca. 1826 · Oil painting · 21.6 × 18.4 cm

¿Se puede contemplar?

Sí, recibe visitas

Museo de Victoria y Alberto

Londres, Reino Unido

SalaPaintings, Room 88, The Edwin and Susan Davies Galleries

Expuesta al público. Quién lo avala figura más abajo.

Comprobado
hace 12 días
En este estado desde
25 sept 2026
Fuente
Los datos de colección del propio museo
En el mapaPágina del museo

Sobre el cuadro

Farm animals appear in many of Constable's landscapes. He once mentioned 'painting in the field from a donkey that I wanted to introduce in a little picture'. The donkey and foal in this study reappear in The Cornfield of 1826, one of Constable's most famous works. It is now in the National Gallery, London.

Museo de Victoria y Alberto

Ficha

ca. 1826
17761837
Número de inventario
790-1888

Lo que muestra

Donkeys

En el catálogo

PinturaÓleoPintura británicaNeoclasicismoRomanticismoSiglo XIXBritish SchoolGran Bretaña

Fuentes

  • Museo de Victoria y Alberto: los datos abiertos del museo · obtenido hace 12 días
  • Imagen: Museo de Victoria y Alberto — © Victoria and Albert Museum, London

Mientras tanto, en la vida de John Constable

La vida entera
  1. 1824

    The Paris Salon: a gold medal

    The Anglo-French dealer John Arrowsmith bought The Hay Wain and other works, and in 1824 they were shown at the Paris Salon, where they caused a sensation. The Hay Wain was awarded a gold medal by Charles X.

  2. 1824

    Delacroix repaints the background of “The Massacre at Chios”

    After seeing Constable’s pictures at Arrowsmith’s gallery, Delacroix repainted the background of his Massacre at Chios, saying the paintings had done him a great deal of good. In his journal he noted that Constable’s meadow greens are a combination of many different shades.

  3. 1824–1828

    The family in Brighton for Maria’s health

    When Maria began to show symptoms of tuberculosis, Constable took lodgings for the family in Brighton in the hope that sea air would restore her health, dividing his time between Brighton and Charlotte Street in London. He was unsure at first that Brighton suited painting, and complained to Fisher that the beach was only Piccadilly by the sea.

  4. 1825

    A quarrel with Arrowsmith: the French market is lost

    In 1825 Constable quarrelled with Arrowsmith and lost his French outlet, perhaps partly from worry over his wife’s health, the uncongenial life at Brighton and the pressure of outstanding commissions. In a few years he had sold more than twenty pictures in France, more than he sold at home.

  5. 23 November 1828

    The death of his wife Maria

    After the birth of their seventh child the family returned to Hampstead, where Maria died of tuberculosis at the age of 41. “Hourly do I feel the loss of my departed Angel,” Constable wrote to his brother.

  6. 1828–1837

    A widower with seven children

    For the rest of his life Constable dressed in black and brought up his seven children alone; according to Leslie he was “a prey to melancholy and anxious thoughts”. Several of the children also painted, notably Lionel.

Más obras de John Constable

Todas las obras
Stoke-by-Nayland, John Constable, ca. 1810–11

Stoke-by-Nayland

ca. 1810–11 · Museo Metropolitano de Arte

Wivenhoe Park, Essex, John Constable, 1816

Wivenhoe Park, Essex

1816 · Galería Nacional de Arte

The White Horse, John Constable, 1818-1819

The White Horse

1818-1819 · Galería Nacional de Arte

La baie de Weymouth à l'approche de l'orage, Constable, John, 1e quart du XIXe siècle (1818 - 1819)

La baie de Weymouth à l'approche de l'orage

1e quart du XIXe siècle (1818 - 1819) · Museo del Louvre

Salisbury Cathedral from Lower Marsh Close, John Constable, 1820

Salisbury Cathedral from Lower Marsh Close

1820 · Galería Nacional de Arte

Vue de Salisbury, Constable, John, 1e quart du XIXe siècle (1820)

Vue de Salisbury

1e quart du XIXe siècle (1820) · Museo del Louvre

Vallon à Helmingham [Helmingham Dell], Constable, John, 1e quart du XIXe siècle (peint à l'été 1823 (selon Beckett)) (1823)

Vallon à Helmingham [Helmingham Dell]

1e quart du XIXe siècle (peint à l'été 1823 (selon Beckett)) (1823) · Museo del Louvre

Salisbury Cathedral from the Bishop's Grounds, John Constable, ca. 1825

Salisbury Cathedral from the Bishop's Grounds

ca. 1825 · Museo Metropolitano de Arte

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