Studies for 'The Hay Wain', by John Constable, 1821.
The title, The Hay Wain, refers to the wooden wagon (wain) used for transporting cut and dried meadow grass (hay). The empty wagon is making its way through the shallow water to cross to the meadow on the other side where haymakers are at work. Although the painting evokes a Suffolk scene, it was created in the artist’s studio in London. Working from a number of open-air sketches made over.
The Hay Wain is the horse-drawn cart in the painting. The scene is in the countryside of Suffolk, England, the artist’s boyhood home. The cart is crossing the river Stour, a winding river found in the farm owned by the artist’s father. The cottage at the left is the home of the artist’s neighbor, Willy Lott.
In 1824, his View on the Stour (1819) and The Hay Wain (1821; National Gall. London) were exhibited at the Salon in Paris, winning gold medals. His work made a profound impression on the French romantics including the young Delacroix and Bonington.
The Hay Wain (1821; National Gallery, London), one of these so-called six-footers, was among the three paintings that Constable exhibited at the Paris Salon of 1824, where he was awarded a gold medal.
Analysis of the Haywain Triptych by Hieronymus Bosch. Among. Some kings and bishops can also be seen following the hay cart, while other pleasure-seekers are committing a variety of sins (gluttony, folly, lechery, avarice, deceit). At the foot of the scene, a fat monk gets drunk while other nuns and monks are busily filling a sack full of hay for themselves. Unnoticed by the frolicking.
The Hay Wain 1821, with its focus on the hay cart under dense clusters of clouds, evokes a specific midday moment as the vehicle turns towards the distant fields. John Constable The Hay Wain 1821 Oil on canvas Courtesy The National Gallery, London. Preparatory sketches. In preparation for these monumental six-footers Constable made full-size preliminary sketches in oil paint. These helped him.
The Hay-Wain (1820-1, National Gallery, London) was one of three of his works shown at the Paris Salon in 1824 and earned him a gold medal from Charles X. In 1826 he was awarded a gold medal by the Society of Fine Arts, Lille, France, following exhibits at its Salon. Friendship with the Fisher family, especially Archdeacon John Fisher, took him to Salisbury in 1811, 1820, 1823 and 1829. The.