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  1. Collection/
  2. Victoria and Albert Museum/
  3. Hampstead Heath, Branch Hill Pond
Hampstead Heath, Branch Hill Pond, John Constable, 1828
John Constable, portraitJohn ConstableRoyaume-Uni, 1776–1837

Hampstead Heath, Branch Hill Pond

1828 · Oil painting · 34.7 × 24.2 cm

Peut-on la contempler ?

Elle ne reçoit pas en ce moment

Victoria and Albert Museum

Londres, Royaume-Uni

Elle appartient à la collection, mais n’est pas présentée en ce moment.

Vérifié
il y a 12 jours
Dans cet état depuis
25 sept. 2026
Source
Le musée
Sur la cartePage du musée

À propos du tableau

Hampstead Heath, Branch Hill Pond is an 1828 landscape painting by the British artist John Constable. It features a view of Branch Hill. It was a favourite view of Constable, who lived nearby, and featured frequently in his work with different compositions. This version notably features a horse and buggy in the foreground. The painting was displayed at the Royal Academy Exhibition of 1828 held at Somerset House. It was acquired by the art collector John Sheepshanks who donated it to the Victoria and Albert Museum in 1857 as part of the Sheepshanks Gift. The engraver David Lucas produced an 1831 mezzotint based on the painting.

Another, different version of the landscape that was produced the same year is now in the Cleveland Museum of Art in Ohio.

Wikipédia · CC BY-SA

Selon le musée

Constable painted several versions of this composition. It is based on an oil sketch. The finished painting may be that praised by a critic as 'A rich and varied piece of colouring…A shower has apparently just passed over, and a few flitting clouds throw their flickering lights and shades over the country'.

Victoria and Albert Museum

Notice

1828 · à 52 ans
17761837
Numéro d’inventaire
FA.35[O]

Ce qu’elle montre

PondLandscapes (representations)Branch Hill Pond

Au catalogue

PeinturesHuilePeinture britanniqueNéoclassicismeRomantismeXIXe siècleBritish SchoolGrande-Bretagne

Sources

  • Victoria and Albert Museum
  • Image : Victoria and Albert Museum — © Victoria and Albert Museum, London

Pendant ce temps, chez John Constable

La vie entière
  1. 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.

  2. after 1828

    Mezzotints for “English Landscape” with David Lucas

    Maria’s father, who died shortly before her, left her £20,000, and Constable spent it disastrously on mezzotints after his landscapes for a planned publication. With the engraver David Lucas he made forty prints, one going through thirteen proof stages, but too few subscribers came forward and the venture lost money.

  3. 2 janvier 1828

    Son born: Lionel Bicknell Constable

  4. 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.

  5. 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.

  6. February 1829

    Elected to the Royal Academy at fifty-two

    In February 1829, three months after his wife’s death, Constable was elected a member of the Royal Academy, at the age of 52.

Autres œuvres : John Constable

Toutes les œuvres
Stoke-by-Nayland, John Constable, ca. 1810–11

Stoke-by-Nayland

ca. 1810–11 · Metropolitan Museum of Art

Wivenhoe Park, Essex, John Constable, 1816

Wivenhoe Park, Essex

1816 · National Gallery of Art

The White Horse, John Constable, 1818-1819

The White Horse

1818-1819 · National Gallery of Art

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) · Musée du Louvre

Salisbury Cathedral from Lower Marsh Close, John Constable, 1820

Salisbury Cathedral from Lower Marsh Close

1820 · National Gallery of Art

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

Vue de Salisbury

1e quart du XIXe siècle (1820) · Musée du 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) · Musée du Louvre

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

Salisbury Cathedral from the Bishop's Grounds

ca. 1825 · Metropolitan Museum of Art

Sous le même toit : Victoria and Albert Museum

Page du musée
Bird of Paradise, Hashimoto Chitaka, 2026

Hashimoto Chitaka

Bird of Paradise, 2026

Torsion 2, Taruma Shoko, 2025

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Torsion 2, 2025

Fu, Someya Satoshi, 2025

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Fu, 2025

Bow Before the Curtain Falls, 2024

Bow Before the Curtain Falls, 2024

Summer, 2024

Summer, 2024

Red Flow, Ishizuka Genta, 2024

Ishizuka Genta

Red Flow, 2024

3D replica of Michelangelo's Prisoner (4117-1854), Factum Arte, 2024

Factum Arte

3D replica of Michelangelo's Prisoner (4117-1854), 2024

Sculpture, ‘Co-Existence – the Man and the Monkey’, Zhao Lin, 2024

Zhao Lin

Sculpture, ‘Co-Existence – the Man and the Monkey’, 2024