{"id":2741,"date":"2025-12-25T10:42:18","date_gmt":"2025-12-25T09:42:18","guid":{"rendered":"https:\/\/grenoble-oxford.org\/?p=2741"},"modified":"2026-01-11T10:05:13","modified_gmt":"2026-01-11T09:05:13","slug":"conference-les-beautes-et-la-modernite-du-paysage-anglais-de-constable-a-turner-le-mercredi-14-janvier-2026","status":"publish","type":"post","link":"https:\/\/grenoble-oxford.org\/index.php\/2025\/12\/25\/conference-les-beautes-et-la-modernite-du-paysage-anglais-de-constable-a-turner-le-mercredi-14-janvier-2026\/","title":{"rendered":"Conf\u00e9rence : Les beaut\u00e9s et la modernit\u00e9 du paysage anglais de Constable \u00e0 Turner, le mercredi 14 janvier 2026."},"content":{"rendered":"\n\n\n

Les peintres de Barbizon et les Impressionnistes rendaient hommage \u00e0 Constable comme \u00e0 Turner. Ils savaient mieux que quiconque que ces deux peintres avaient tous deux atteint, \u00e0 leur mani\u00e8re, les sommets de la peinture de paysage \u00e0 la fin du XVIIIe si\u00e8cle et dans la premi\u00e8re moiti\u00e9 du XIXe si\u00e8cle. Richard Parkes Bonington a ouvert l\u2019art du paysage anglais \u00e0 de nouveaux horizons, au-del\u00e0 du Romantisme, dans la qu\u00eate effr\u00e9n\u00e9e de la lumi\u00e8re et de la mani\u00e8re libre.<\/p>\n\n\n\n

Serge Legat, historien de l’art<\/strong> : Serge Legat est conf\u00e9rencier des mus\u00e9es nationaux et professeur d\u2019histoire de l\u2019art \u00e0 l\u2019Institut d\u2019\u00c9tudes Sup\u00e9rieures des Arts \u00e0 Paris. Intervenant r\u00e9gulier de l’\u00e9mission “Au c\u0153ur de l’Histoire” anim\u00e9e par Franck Ferrand sur Europe 1, pour les sujets traitant de la peinture ancienne, il est aussi intervenant dans le cadre de l’\u00e9mission “Secrets d’Histoire” de St\u00e9phane Bern sur France 2 et Vice-pr\u00e9sident des Amis du mus\u00e9e Gustave Moreau \u00e0 Paris.<\/em><\/p>\n\n\n\n

Rappel des conditions d’inscription<\/u><\/strong> :<\/strong><\/p>\n\n\n\n

\u00catre adh\u00e9rent.e \u00e0 l\u2019association Alliance Grenoble-Oxford <\/strong>pour obtenir le tarif pr\u00e9f\u00e9rentiel de 10\u20ac (Plein tarif : 15\u20ac)<\/strong><\/p>\n\n\n\n

Date limite d’inscription <\/strong>le 4 janvier 2026<\/strong> (10 jours avant la date, nombre limit\u00e9 \u00e0 15) <\/strong><\/p>\n\n\n\n

Marie-Christine Simiand, MBE Pr\u00e9sidente de l’Alliance Grenoble-Oxford<\/p>\n\n\n\n

<\/p>\n\n\n\n

Turner and Constable at the Tate Britain: Rivals and originals<\/h1>\n\n\n\n

As a new exhibition opens at the Tate Britain, Susan Gray delves into the intense rivalry between two of Britain\u2019s most celebrated painters: Constable and Turner<\/p>\n\n\n\n

Two of the biggest names in British art history, Joseph Mallord Willliam Turner<\/a> and John Constable were born just a year apart, in 1775 and 1776 respectively.<\/p>\n\n\n\n

It was Turner\u2019s 250th anniversary in 2025 and now as we head into 2026 it\u2019s time for Constable\u2019s turn in the limelight, perfect timing then for a new exhibition examining the relationship between these two giants of the art world.<\/p>\n\n\n\n

Turner and Constable Rivals and Originals<\/h2>\n\n\n\n

Turner and Constable Rivals and Originals<\/em>, at London\u2019s Tate Britain<\/a> until 16 April 2026, places the two artists\u2019 reputations for showdowns at the Royal Academy and cutting remarks towards each other, in a long lineage of artistic rivalries: from Michelangelo and Leonardo da Vinci in 16th-century Rome, to Gainsborough and Reynolds in 18th-century England, and Picasso and Matisse in interwar Paris. <\/p>\n\n\n\n

Curator Amy Concannon also draws out some of the similarities that unite the two artists, in particular their radical approach to the genre of landscape painting, raising its status and introducing new approaches and techniques.<\/p>\n\n\n\n

What were the differences between Constable and Turner?<\/h2>\n\n\n\n
\"JMW
JMW Turner’s Self-Portrait (c 1799) | Photo credit: \u00a9Tate, 2023<\/figcaption><\/figure>\n\n\n\n

 Two portraits painted in 1799 reveal the artists\u2019 differing backgrounds and career trajectories. J.M.W. Turner, Self Portrait c. 1799<\/em>, shows an energetic, self-confident artist, facing his audience full on. Having first exhibited at the Royal Academy as a teenager in 1790, when he was training as an architectural draughtsman. Turner went on to exhibit at the annual Royal Academy exhibition almost every year for the rest of his life.<\/p>\n\n\n\n

What was John Constable\u2019s background?<\/h3>\n\n\n\n
\"John
John Constable by Ramsay Richard Reinagle c. 1799. | Photo credit: NPG 1786. \u00a9 National Portrait Gallery, London.<\/figcaption><\/figure>\n\n\n\n

 By contrast, John Constable by Ramsay Richard Reinagle c.1799,<\/em> has more of the air of a country gentleman, with his neat cravat, buttoned-up dark coat and downcast gaze. <\/p>\n\n\n\n

This portrait marked Constable\u2019s move from Suffolk to London in 1799, when he went to train at the Royal Academy. It was painted by fellow landscape artist, Richard Ramsey Reinagle, Constable\u2019s housemate in Cecil Street, near the Strand. <\/p>\n\n\n\n

Constable\u2019s parents were so pleased with Ramsey\u2019s likeness of their son that it hung in their family home at East Bergholt. A self portrait by Constable in black pencil and chalk, dated 1799 \u2013 1804, shows the same thoughtful expression, with the artist\u2019s cheeks heightened in red chalk.<\/p>\n\n\n\n

 Constable\u2019s family were prosperous grain merchants on the River Stour in Suffolk<\/a> and had deep reservations about their son becoming an artist, rather than joining the family business. <\/p>\n\n\n\n

Even a decade after he had settled in London, Constable\u2019s family remained concerned by how little he was earning from painting \u2013 certainly not enough to provide for a gentleman\u2019s lifestyle. His mother wrote to him that his \u201cfather\u2019s earnest wish is to have you earn money\u201d. The death of Constable\u2019s father in 1816, allowed him at last to marry Maria Bicknell in 1816, after a seven-year courtship. They went on to have seven children.<\/p>\n\n\n\n

author : Susan Gray in Discover Britain’s article (excerpts)<\/p>\n\n\n\n

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