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Fall in love all over again with three giants of British landscape painting.
Thomas Gainsborough, Romantic Landscape, c. 1783
Photograph: Prudence Cuming Associates Limited, © Royal Academy of Arts, London
The founding of the Royal Academy in the mid-18th century coincided with the flowering of British landscape painting. Over the next 100 years Constable, Gainsborough and JMW Turner - all academicians - became the pillars of a national movement, the first with his bold, vigorous brushwork, the second with his endless invention and evenescent colours, and the third as the incomparable master of light and colour.
This show presents their work alongside that of their contemporaries Richard Wilson, Michael Angelo Rooker and Paul Sandby, and the 17th-century masters they would have used as models: Claude, Poussin, Gaspard Dughet and Salvator Rosa.
Highlights include Gainsborough’s Romantic Landscape (c. 1783), and a recently acquired drawing that was last seen in public in 1950. Constable’s two great landscapes of the 1820s, The Leaping Horse (1825) and Boat Passing a Lock (1826) will be hung alongside Turner’s brooding diploma work, Dolbadern Castle (1800).
What the critics say
A trio of great names displays the power of British landscape
This exhibition of 150 art works from the Royal Academy Collections, including paintings, prints, and books, traces the development of English landscape painting through three of its greatest exponents
Just to get up close and observe the brushwork of The Leaping Horse is worth the visit
Constable, Gainsborough, Turner at the Royal Academy is a thoughtful, yet frequently frustrating, exhibition about the rise of English landscape painting