In view of the powerful influence exercised by Constable and the
British Landscape school in general upon modern French art, it is
surprising that no attempts should have been made to secure a few
examples of greater importance and more certain authenticity than the
ones now exhibited. Six pictures are catalogued under the name of John
Constable (1776-1837); the only one that can be unreservedly accepted
as the work of his brush is the little view of _Hampstead Heath_ (No.
1809, Plate LIV.), which was presented to the Louvre in 1877 by the
painter’s son, Mr. Lionel Constable. It is a fresh, masterly study for
the picture in the Sheepshanks collection at the Victoria and Albert
Museum.
The _Weymouth Bay_ (No. 1808), which realised as much as £2240 at the
Marquis de la Rochebrune’s sale in 1873, has been enthusiastically
commented upon by Bürger, but cannot pass the ordeal of searching
criticism. It is incoherent, and in the details of the foreground and
the painting of the figures and sheep lacks the purposeful sureness of
touch which is the hall-mark of Constable’s art. _The Cottage_ (No.
1806) has the same provenance. Mr. P. M. Turner, in an article in the
_Burlington Magazine_, suggests that F. W. Watts, a feeble imitator
of Constable, is the real author of this timidly executed painting—an
attribution which is certainly more convincing than the one in the
official catalogue. The _Glebe Farm_ (No. 1810) tallies closely, as
regards the superficial aspect, with the picture of the same title at
the National Gallery, to which it is, however, so inferior as to put
Constable’s authorship out of the question. _The Windmill_ (No. 1810A),
a gift of Mr. Sedelmeyer, seems to be a copy of the _Spring_ at the
Victoria and Albert Museum. _The Rainbow_ (No. 1807) may possibly be
by Constable, although its authorship has been questioned by several
reliable authorities.
James Webb (1825?-1895), a painter of undeniable talent for imitating
the manner of artists greater than himself, is beyond much doubt
responsible both for the _Landscape_ (No. 1820), which is officially
given to Richard Wilson (1714-1782), and for the view of the _Pont
Neuf_ (No. 1819), which is still exhibited as an example by the
greatest English landscape painter J. M. W. Turner (1775-1851).
Unfortunately Turner’s name has to be added to Hogarth’s and
Gainsborough’s in the list of eminent British masters who are not
represented at the Louvre.
[Illustration:
PLATE LIV.—JOHN CONSTABLE
(1776-1837)