{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O125094"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O125094/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006BF3356/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006BF3356/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006BF3356","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2012FJ8534","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2012FR7311","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JU3172","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KC7852","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2020MP1307","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O125094/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O125094","accessionNumber":"134-1888","objectType":"Oil","titles":[{"title":"View of Dedham from the Lane Leading from East Bergholt Church to Flatford","type":"popular title"}],"summaryDescription":"","physicalDescription":"Landscape view of fields with large tree in middle ground in oil on paper.","artistMakerPerson":[{"name":{"text":"Constable, John (RA)","id":"A8267"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"oil paint","id":"AAT15050"},{"text":"paper","id":"x30308"},{"text":"canvas","id":"AAT14078"}],"techniques":[{"text":"oil painting","id":"AAT178684"}],"materialsAndTechniques":"Oil on paper laid on canvas","categories":[{"text":"Paintings","id":"THES48917"}],"styles":[{"text":"British School","id":"x30967"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2006BF3356","2012FJ8534","2012FR7311","2017JU3172","2017KC7852","2020MP1307"],"imageResolution":"high","galleryLocations":[{"current":{"text":"WS","id":"THES49603"},"free":"","case":"R","shelf":"78","box":"L"}],"partTypes":[[{"text":"oil paintings","id":"AAT33799"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Great Britain","id":"x32019"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"ca. 1810-1815","earliest":"1805-01-01","latest":"1815-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Given by Isabel Constable","dimensions":[{"dimension":"Height","value":"23.9","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"approx.","note":""},{"dimension":"Width","value":"30.2","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"approx.","note":""},{"dimension":"Height","value":"50.3","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Frame","note":""},{"dimension":"Width","value":"55","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Frame","note":""}],"dimensionsNote":"Dimensions taken from <i>Catalogue of the Constable Collection</i>, Graham Reynolds, Victoria and Albert Museum, London: HMSO, 1973","marksAndInscriptions":[],"objectHistory":"Given by Isabel Constable, 1888","historicalContext":"'In the year 1811 Constable's exhibits at the Royal Academy comprised 'Twilight', and 'Dedham Vale: morning' (now in the collection of Sir Richard Proby).  He visited Suffolk in the spring and paid his first visit to Salisbury in the autumn: this was probably the occasion of his first meeting with John Fisher, who was to become his closest friend.  His attachment to Maria Bicknell became known during this year, and he received her father's permission to write to her in October.'\r\n\r\n[G Reynolds, 1973, p. 69]","briefDescription":"Oil sketch of a country landscape by Constable, England, 19th century.","bibliographicReferences":[{"reference":{"text":"Parris, Leslie and Fleming-Williams, Ian. <i>Constable </i> London : The Tate Gallery, 1991","id":"AUTH354806"},"details":"no.40","free":""},{"reference":{"text":"","id":""},"details":"","free":"Morris, Edward, ed. <u> Constable's Clouds: Paintings and Cloud Studies by John Constable </u>,  Edinburgh : National Galleries of Scotland ; Liverpool : National Museums and Galleries on Merseyside, c2000. 176 p. : ill. (some col.). ISBN 1903278058 (paperback), 1903278066 (hardback)."},{"reference":{"text":"Chivian-Cobb, Hermine, (ed.), <i>Constable's Oil Sketches 1809-29: the Maria Bicknell Years</i>, New York, Salander-O'Reilly Galleries, 2007.","id":"AUTH356831"},"details":"","free":""},{"reference":{"text":"","id":""},"details":"","free":"<i>Catalogue of the Constable Collection</i>, Graham Reynolds, Victoria and Albert Museum, London: HMSO, 1973, pp. 69, 74, 77"},{"reference":{"text":"Feaver, William, <i>Lucian Freud on John Constable</i>, London, British Council, 2003","id":"AUTH356924"},"details":"","free":""},{"reference":{"text":"Concannon, Amy (editor) Tate Gallery (host institution) <u>Turner and Constable : Rivals and Originals</u> London : Tate Publishing, 2025","id":"AUTH413599"},"details":"p. 103","free":"As the pin holes in each corner suggest, Constable made this vibrant sketch in the lid of his portable paintbox (no.60). Divided diagnoally by the dark hedge, its composition is as striking as its record of the interplay of light ad dark on a bright summer's day. The orange field is aglow with sunlight while dark shadows define the cart tracks and contrast sharply with pools of light on the lane to the right. This lane ran between East Bergholt Church, the Constable family's place of worship, and Flatford, the hub of their family business. From a vantage point slightly above the lane, Constable's sketch takes in Dedham Vale to the left - the bright blue of the River Stour can be seen snaking its course to the estuary, which can be made out in the centre of the horizon. Constable applied his paint more thickly here than in earlier sketches like <i>Dedham Vale from the Coombs</i> (no.31) - the large trees are made up of brushstrokes that streak and dab different colours together. This way he could quickly create a sense of depth and varied tone. 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