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87-610: The building has undergone several expansions, the latest of which opened in 2017 via a design by Halifax-based MacKay-Lyons Sweetapple Architects. Former director Terry Graff stated that this "expansion and revitalization" aimed to make the gallery "an important destination for national and international contemporary art". In 1954 Lord Beaverbrook made an offer to Hugh John Flemming , the Premier of New Brunswick, to build and stock an art gallery in Fredericton. The Province accepted

174-701: A 2013 Afterword to his book on the dispute, New Brunswick author Jacques Poitras reported on speculation that the agreement would see the Foundation avoid paying the Gallery's costs, and that in exchange the Gallery would get a share of the proceeds when the Foundation sold the 48 works that were to be returned to it. The second dispute involved the Beaverbrook Canadian Foundation's claim to ownership of 78 works that had been donated by Lady Dunn (later Lady Beaverbrook) personally or by

261-528: A collection of more than 300 paintings, mostly British, and assembled by Lord Beaverbrook. Most of the works had been purchased by Beaverbrook himself, with the help of advisors, including Sir Alec Martin, managing director of Christie's , W.G. Constable , curator of the Boston Museum of Fine Arts , and Lady Dunn , the widow of the industrialist and art collector Sir James Dunn . Lady Dunn became Lady Beaverbrook when she married Lord Beaverbrook in 1963,

348-536: A companion picture, an offer the artist didn’t take up. Constable's growing popularity in turn led to more lucrative commissions, such as Malvern Hall (1821, Clark Art Institute ). In 1821, his most famous painting The Hay Wain was shown at the Royal Academy's exhibition. Although it failed to find a buyer, it was viewed by some important people of the time, including two Frenchmen, the artist Théodore Géricault and writer Charles Nodier . According to

435-609: A financial recovery. The mill was sold and dismantled c 2010 and the area has been re-purposed to store production of the peat moss facility. His wife Aida was the founder of the Kindness Club , an organization to facilitate kindness toward animals geared towards children. The Hugh John Flemming Forestry Centre in Fredericton is home to the Maritime College of Forest Technology as well as several branches of

522-425: A freshness of light, colour and touch, and reveals the compositional influence of the old masters he had studied, notably of Claude Lorrain. Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips farther afield. By 1803, he was exhibiting paintings at the Royal Academy. In April he spent almost

609-664: A high-ceilinged central gallery with a square gallery on either side. In 1983 the building was expanded with the addition of east and west wings. These additions, funded by Marguerite Vaughan and the Beaverbrook Canadian Foundation respectively, housed the Hosmer Pillow Vaughan collection of china and other decorative arts, and the Sir Max Aitken Gallery. In 1995 another expansion, housing the Marion McCain Atlantic Gallery,

696-587: A letter to Leslie, "My limited and abstracted art is to be found under every hedge, and in every lane, and therefore nobody thinks it worth picking up". He could never have imagined how influential his honest techniques would turn out to be. Constable's art inspired not only contemporaries like Géricault and Delacroix , but the Barbizon School , and the French impressionists of the late nineteenth century. In 2019 two drawings by Constable were found among

783-691: A month aboard the East Indiaman Coutts as it visited south-east ports while sailing from London to Deal before leaving for China. In 1806 Constable undertook a two-month tour of the Lake District. He told his friend and biographer, Charles Leslie, that the solitude of the mountains oppressed his spirits, and Leslie wrote: His nature was peculiarly social and could not feel satisfied with scenery, however grand in itself, that did not abound in human associations. He required villages, churches, farmhouses and cottages. Constable adopted

870-547: A notably articulate artist. In 1802 he refused the position of drawing master at Great Marlow Military College (now Sandhurst ), a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter: For the last two years I have been running after pictures, and seeking

957-678: A poor man [in England] than a rich man abroad." In 1825, perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the seaside" ), and the pressure of numerous outstanding commissions, he quarreled with Arrowsmith and lost his French outlet. Chain Pier, Brighton was his only ambitious six-foot painting of a Brighton subject, it was exhibited in 1827. The Constables persevered in Brighton for five years to aid Maria’s health, but to no avail. After

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1044-466: A religious painter cannot be overstated." Another source of income was country house painting. In 1816, he was commissioned by Major-General Francis Slater Rebow to paint his country home, Wivenhoe Park, Essex . The Major-General also commissioned a smaller painting of the fishing lodge in the grounds of Alresford Hall, which is now in the National Gallery of Victoria . Constable used

1131-574: A routine of spending winter in London and painting at East Bergholt in summer. In 1811 he first visited John Fisher and his family in Salisbury , a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings. To make ends meet, Constable took up portraiture , which he found dull, though he executed many fine portraits. He also painted occasional religious pictures but, according to John Walker, "Constable's incapacity as

1218-467: A sketch from nature, the first thing I try to do is to forget that I have ever seen a picture". Constable attributed his gift 'to all that lay on the Stour river', however, biographer Anthony Bailey attributed his artistic development to the influence of his well to do relative, Thomas Allen and the London contacts he introduced Constable to. Although Constable produced paintings throughout his life for

1305-532: A text to the title: "The mysterious monument of Stonehenge , standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period." In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and clouds, determined to become more scientific in his recording of atmospheric conditions. The power of his physical effects

1392-531: A year before his death. In 1954, Lord Beaverbrook had set up the Beaverbrook U.K. Foundation, a charitable foundation one of whose objects was "the purchasing for or providing funds for the purchase by libraries museums or art galleries in the Province [of New Brunswick]... of books manuscripts papers letters periodicals maps paintings prints statuary and other documents or works of art..." Beaverbrook gave

1479-514: Is known principally for revolutionising the genre of landscape painting with his pictures of Dedham Vale , the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling". Constable's most famous paintings include Wivenhoe Park (1816), Dedham Vale (1828) and The Hay Wain (1821). Although his paintings are now among

1566-463: Is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught. He also spoke against the new Gothic Revival movement, which he considered mere "imitation". In 1835, his last lecture to students of the Royal Academy, in which he praised Raphael and called the Academy the "cradle of British art",

1653-560: The Field Studies Council for courses. The largest collection of original Constable paintings outside London is on display at Christchurch Mansion in Ipswich. Somerville College, Oxford is in possession of a portrait by Constable. Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie, "When I sit down to make

1740-664: The House of Commons of Canada in 1972. He became Minister of National Revenue in 1962, but in 1963 the then-minority government was defeated by the 25th Canadian Parliament , and he would spend his remaining years in Parliament on the opposition benches. Flemming died in Fredericton , New Brunswick. Flemming's son, Hugh John Flemming, Jr. ran for a seat in the New Brunswick Legislature in 1974 but lost to Shirley Dysart by 73 votes. His grandson Ted Flemming

1827-558: The Progressive Conservative Party of New Brunswick leading the party to victory on 22 September 1952. Flemming would then lead the 42nd New Brunswick Legislature , which ran from 11 February 1952 to 17 April 1956. He and his party were re-elected to govern the 43rd New Brunswick Legislature . As Premier during two terms, Flemming modernized the province's hydro system, built the Beechwood Dam , then

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1914-542: The Royal Academy and it led to a series of six monumental landscapes depicting narratives on the River Stour known as the ‘six-footers’ (named for their scale). The extraordinary size of the works helped Constable attract attention in the competitive space of the Academy's exhibitions. Viewed as ‘the knottiest and most forceful landscapes produced in 19th-century Europe’, for many they are the defining works of

2001-436: The meteorologist Luke Howard on the classification of clouds; Constable's annotations of his own copy of Researches About Atmospheric Phaenomena by Thomas Forster show him to have been fully abreast of meteorological terminology. "I have done a good deal of skying", Constable wrote to Fisher on 23 October 1821; "I am determined to conquer all difficulties, and that most arduous one among the rest". Constable once wrote in

2088-544: The "finished" picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method. He was never satisfied with following a formula. "The world is wide", he wrote, "no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other." Constable painted many full-scale preliminary sketches of his landscapes to test

2175-514: The 14th to the 20th centuries. The Hosmer Pillow Vaughan Collection of Fine and Decorative Arts forms part of the International Collection. In 1994 The Beaverbrook Art Gallery was designated the provincial art gallery of New Brunswick. A separate New Brunswick Collection was established to ensure a comprehensive historical survey of New Brunswick art, including work by Acadian , Maliseet , and Mi'kmaq artists. In recent years,

2262-642: The Beaverbrook Art Gallery has continued to grow its permanent collection. In 2012 there were 3600 items in the gallery's permanent collection, which is made up of four separate collection areas: the British Collection, The Canadian Collection, the International Collection, and the New Brunswick Collection. The core of the British Collection is the original Beaverbrook collection with which the gallery opened. In

2349-671: The Canadian Collection, the gallery hosts an extensive collection of 19th- and 20th-century Canadian artists, including many works by members of the Group of Seven , Emily Carr , David Milne and Jean-Paul Riopelle . Within the Canadian Collection there is an emphasis on work from the Atlantic region, and the Gallery has extensive holdings of work by Christopher Pratt , Bruno Bobak , and Jack Humphrey , among others. The International Collection contains representative works from

2436-538: The Constables his social inferiors and threatened Maria with disinheritance. Maria's father, Charles Bicknell, solicitor to George IV and the Admiralty, was reluctant to see Maria throw away her inheritance. Maria pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting

2523-559: The Dunn Foundation. After Lord Beaverbrook's death in 1964, his widow denied that the paintings belonged to the Gallery and proposed to withdraw them from the collection. In 1970 the Beaverbrook Canadian Foundation, then chaired by Sir Max Aitken , arranged to purchase the paintings from her for a total of $ 250,000. This was done at the request of Wallace Bird , the Chair of the Gallery's Board of Directors and Lieutenant-Governor of

2610-417: The Gallery $ 4.8 million in legal costs. The Foundation appealed the award pursuant to a process agreed on by the parties, in which a panel of three retired Canadian judges ( Edward Bayda , Coulter Osborne and Thomas Braidwood) heard the appeal. On 9 September 2009 the panel confirmed the original award that divided the paintings between the two parties. The Fountain of Indolence and Hotel Bedroom were among

2697-584: The Gallery $ 5 million for its endowment fund, and guarantee that the remaining works would stay in the Gallery for at least the following ten years. This would have required the Gallery's directors to acknowledge that the paintings belonged to the Foundation, which they refused to do. In July 2004 the Gallery and the Beaverbrook U.K. Foundation submitted the case to arbitration under the New Brunswick Arbitration Act , agreeing that

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2784-451: The Gallery had received two major donations of artworks before its opening. Toronto businessman James Boylen donated 22 paintings by Cornelius Krieghoff . Lady Dunn donated three portraits by Walter Sickert and three works by Salvador Dalí . Two of the Dalí paintings were portraits of Lord and Lady Dunn, while the third was the very large painting Santiago El Grande , which was on display in

2871-494: The Gallery has been expanding its collection to include a wider selection of modern and contemporary Canadian and International art. The Gallery has acquired many works by well-known First Nations artists including work by Anong Beam , Carl Beam , and Rebecca Belmore . In 2015 and 2016 the Gallery acquired more than 2000 additional works of art for its permanent collection, representing an outpouring of generosity from donors nationwide. Notable Canadian artists that have been added to

2958-552: The Liberals promised to abolish while maintaining a balanced budget, and the Liberal promises to reform alcohol sales, and to revive the moose hunt. Following the defeat of his provincial government, he was named Minister of Forestry in the cabinet of Prime Minister John Diefenbaker . He sought a seat in a by-election in southern New Brunswick in 1960 and was re-elected to his home district four times before he retired from

3045-519: The Meadows , 1831, and in Cottage at East Bergholt , 1833. To the sky studies he added notes, often on the back of the sketches, of the prevailing weather conditions, direction of light, and time of day, believing that the sky was "the key note, the standard of scale, and the chief organ of sentiment" in a landscape painting. In this habit he is known to have been influenced by the pioneering work of

3132-480: The Royal Academy exhibitions but also, it seems, to project his ideas about landscape on a scale more in keeping with the achievements of the classical landscape painters he so admired. Although Flatford Mill failed to find a buyer when it was exhibited at the Royal Academy in 1817, its fine and intricate execution drew much praise, encouraging Constable to move on to the even larger canvases that were to follow. Although he managed to scrape an income from painting, it

3219-494: The amount the Foundation could devote to its charitable causes in England. In 2003 the Foundation, which was headed by Lord Beaverbrook's grandson Maxwell Aitken , proposed to take back and sell the two most valuable paintings, The Fountain of Indolence and Hotel Bedroom . It would use the proceeds to pay the considerably reduced insurance premiums on the remaining works and to fund its causes in England. The Foundation would give

3306-423: The artist's career. The series also includes Stratford Mill , 1820 ( National Gallery , London); The Hay Wain , 1821 (National Gallery, London); View on the Stour near Dedham , 1822 ( Huntington Library and Art Gallery , Los Angeles County ); The Lock , 1824 ( Private Collection ); and The Leaping Horse , 1825 ( Royal Academy of Arts , London ). The following year, his second six-footer Stratford Mill

3393-463: The background of his 1824 Massacre de Scio after seeing the Constables at Arrowsmith's Gallery, which he said had done him a great deal of good. A number of distractions meant that The Lock wasn't finished in time for the 1823 exhibition, leaving the much smaller Salisbury Cathedral from the Bishop's Grounds as the artist's main entry. This may have occurred after Fisher forwarded Constable

3480-595: The birth of their seventh child in January 1828, they returned to Hampstead where Maria died on 23 November at the age of 41. Intensely saddened, Constable wrote to his brother Golding, "hourly do I feel the loss of my departed Angel—God only knows how my children will be brought up...the face of the World is totally changed to me". Thereafter, he dressed in black and was, according to Leslie, "a prey to melancholy and anxious thoughts". He cared for his seven children alone for

3567-408: The case would be heard by retired Supreme Court of Canada justice Peter Cory . The dispute proceeded to arbitration, and Cory issued his arbitral award on 26 March 2007. Of the 133 disputed paintings, 85 were ruled as being gifts from the original Lord Beaverbrook, while 48 paintings were to be returned to the custody of the Beaverbrook U.K. Foundation. Cory also ruled that the Foundation had to pay

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3654-530: The central gallery when the Beaverbrook Art Gallery opened and has become closely identified with the Gallery. This painting, which measures 13 by 10 feet (400 cm × 300 cm), and represents Spain's patron saint James the Great on a white horse, had been created for the Spanish Pavilion at the 1958 Brussels World's Fair . In the years since Lord Beaverbrook donated the original collection,

3741-476: The collection at £35 million, nearly $ 90 million in Canadian funds. Turner's 1834 painting The Fountain of Indolence alone was estimated to be worth between $ 16.7 million and $ 25 million, and Freud's Hotel Bedroom between $ 5.2 million and $ 8.4 million in Canadian funds. This large increase in value would entail a corresponding rise in the cost to the Foundation of insuring the works, and would in turn reduce

3828-443: The collection include IAIN BAXTER& , Oscar Cahén , Jacques Hurtubise , and Denis Juneau . Internationally, the Gallery has acquired works by many modern and contemporary artists including Barbara Astman , Hans Hofmann , Edward Kienholz , Dennis Oppenheim , Jean-Paul Riopelle . A dispute arose in 2003 between the Gallery and the Beaverbrook U.K. Foundation over custody of the paintings that Lord Beaverbrook had purchased for

3915-433: The collection. This was followed by a second dispute between the Gallery and the Beaverbrook Canadian Foundation over paintings that had been donated to the Gallery by Lady Beaverbrook (formerly Lady Dunn). The foundations proposed to take back and sell some of the most valuable works in the collection to raise funds for their charitable activities. The Beaverbrook Art Gallery maintained that it had received permanent custody of

4002-451: The composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The oil sketches of The Leaping Horse and The Hay Wain , for example, convey a vigour and expressiveness missing from Constable's finished paintings of the same subjects. Possibly more than any other aspect of Constable's work,

4089-671: The effects of light and movement, Constable used broken brushstrokes, often in small touches, which he scumbled over lighter passages, creating an impression of sparkling light enveloping the entire landscape. One of the most expressionistic and powerful of all his studies is Seascape Study with Rain Cloud , painted about 1824 at Brighton, which captures with slashing dark brushstrokes the immediacy of an exploding cumulus shower at sea. Constable also became interested in painting rainbow effects, for example in Salisbury Cathedral from

4176-414: The foundation's trustees in connection with ... the foundation's governance and financial affairs, [including] the trustees' pursuit of the litigation against the gallery." On 15 September 2010, the parties announced that the matter was finally settled by private agreement. They maintained the original 85/48 split of the disputed art works and said that they had also agreed on the allocation of legal costs; in

4263-645: The governments of New Brunswick and Canada, and the K.C. Irving Theatre. Flemming and his wife Aida are buried in the Methodist Church Cemetery in Woodstock, New Brunswick . John Constable John Constable RA ( / ˈ k ʌ n s t ə b əl , ˈ k ɒ n -/ ; 11 June 1776 – 31 March 1837) was an English landscape painter in the Romantic tradition. Born in Suffolk , he

4350-430: The hope the sea air could restore her health. During this period Constable split his time between Charlotte Street in London and Brighton. This change saw Constable move away from large scale Stour scenes in favour of coastal scenes. He continued painting six-foot canvases, although he was initially unsure of the suitability of Brighton as a subject for painting. In a letter to Fisher in 1824 he wrote The magnificence of

4437-518: The largest art gallery in the Atlantic region. In 2009 a sculpture garden was inaugurated adjacent to the Gallery. The first sculpture to be commissioned was The Birth of Venus by New Brunswick Acadian artist André Lapointe. In 2012 the Gallery received a $ 300,000 donation from TD Bank Group to support the initiative, which was named the TD Sculpture Garden. A sculpture by Marie-Hélène Allain ( Awakening/Éveil ) has been on display on

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4524-514: The largest hydro-electric project in the province, and presented a balanced budget every year in office. Universal health care, which had been proposed formally by the St. Laurent government at the 1955 federal-provincial summit on taxation, would become his nemesis because of his reluctance to sink the budget of the province. In 1960 his government was defeated because of the hospital tax, which had been set by his government at $ 50 per capita and which

4611-504: The lawns in front of the Gallery since 1985. In October 2015 the Gallery acquired the sculpture Arriving Home by American sculptor Dennis Oppenheim . The sculpture was installed permanently in the TD Sculpture Garden behind the Beaverbrook Art Gallery near the Saint John River. On September 16, 2016, the Gallery unveiled the installation of a newly acquired work by Sorel Etrog titled King and Queen . The gallery opened with

4698-516: The marriage until Constable was financially secure. After they died in quick succession, Constable inherited a fifth share in the family business. John and Maria's marriage in October 1816 at St Martin-in-the-Fields (with Fisher officiating) was followed by time at Fisher's vicarage and a honeymoon tour of the south coast. The sea at Weymouth and Brighton stimulated Constable to develop new techniques of brilliant colour and vivacious brushwork. At

4785-405: The midst of a large picture here which I had contemplated for the next exhibition The picture was Flatford Mill (Scene on a Navigable River) . It was the largest canvas of a working scene on the River Stour that he had worked on to date and the largest he would ever complete largely outdoors. Constable was determined to paint on a larger scale, his objective not only to attract more attention at

4872-462: The money for the painting. This both helped him out of a financial difficulty and nudged him along to get the painting done. The Lock was therefore exhibited the following year to more fanfare and sold for 150 guineas on the first day of the exhibition, the only Constable ever to do so. The Lock is the only upright landscape of the Stour series and the only six-footer that Constable painted more than one version of. A second version now known as

4959-460: The money from these commissions towards his wedding with Maria Bicknell. This period of Constable's painting is heavily populated with idyllic country scenes with heavy detail, notably his 1816 work The Wheat Field . From 1809, his childhood friendship with Maria Elizabeth Bicknell developed into a deep, mutual love. Their marriage in 1816 when Constable was 40 was opposed by Maria's grandfather, Dr. Rhudde, rector of East Bergholt. He considered

5046-481: The money, paying for the engraving of several mezzotints of some of his landscapes in preparation for a publication. He was hesitant and indecisive, nearly fell out with his engraver, and when the folios were published, could not interest enough subscribers. Constable collaborated closely with mezzotinter David Lucas on 40 prints after his landscapes, one of which went through 13 proof stages, corrected by Constable in pencil and paint. Constable said, "Lucas showed me to

5133-740: The most popular and valuable in British art , he was never financially successful. He was elected to the Royal Academy of Arts at the age of 52. His work was embraced in France, where he sold more than in his native England and inspired the Barbizon school . John Constable was born in East Bergholt , a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father

5220-423: The new pavilion began in October 2015. On 20 July 2016, the Gallery announced that it was increasing its fundraising goal from $ 25 million to $ 28 million after an outpouring of generosity from private donors and government sources. The increased capital will allow for more amenities as well increased programming and more. Construction of the new pavilion was completed in October 2017, making the Beaverbrook Art Gallery

5307-427: The oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction. Constable's watercolours were also remarkably free for their time: the almost mystical Stonehenge , 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted. When he exhibited it in 1836, Constable appended

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5394-489: The painter Eugène Delacroix , Géricault returned to France ’quite stunned‘ by Constable’s painting, while Nodier suggested French artists should also look to nature rather than relying on trips to Rome for inspiration. It was eventually purchased, along with View on the Stour near Dedham , by the Anglo-French dealer John Arrowsmith, in 1824. A small painting of Yarmouth Jetty was added to the bargain by Constable, with

5481-547: The paintings he had already acquired to the Beaverbrook U.K. Foundation, and subsequent purchases of works for the Gallery were made by the Foundation. According to news reports in 1959, the total value of the collection was $ 2,100,000. It included works by J.M.W. Turner , John Constable , Thomas Gainsborough , Joshua Reynolds , Edwin Henry Landseer and other 18th- and 19th-century British artists. Beaverbrook had also acquired works by contemporary artists with whom he

5568-649: The proposal, and provided him with a site directly across from the New Brunswick Legislative Building on the southern bank of the Saint John River . Neil Stewart, of the Fredericton architectural firm Howell & Stewart, designed the mid-century modern building as a flat-roofed single-storey structure, faced with pale semi-glazed brick. It has a granite base, with cornices and a frieze of white marble quarried at Philipsburg , Quebec . The original exhibition space consisted of

5655-637: The province, in order to keep them in the custody of the Gallery. On 28 February 2014, the dispute between the Gallery and the Beaverbrook Canadian Foundation was settled out of court, with the Gallery keeping 35 of the works and the Canadian Foundation keeping 43—with the agreement stipulating that those works would be on long-term loan to the Gallery. 45°57′35″N 66°38′08″W  /  45.9598°N 66.6356°W  / 45.9598; -66.6356 Hugh John Flemming Hugh John Flemming PC (January 5, 1899 – October 16, 1982)

5742-405: The public without my faults", but the venture was not a financial success. This period saw his art move from the serenity of its earlier phase, to a more broken and accented style. The turmoil and distress of his mind is clearly seen in his later six-foot masterpieces Hadleigh Castle (1829) and Salisbury Cathedral from the Meadows (1831), which are amongst his most expressive pieces. He

5829-563: The rest of his life. The children were John Charles, Maria Louisa, Charles Golding , Isobel, Emma, Alfred, and Lionel. Only Charles Golding Constable produced offspring. Several of Constable's children also painted, notably his son Lionel. While Lionel eventually gave up painting for photography, several of his works are within the collection of the Clark Art Institute . Shortly before Maria died, her father had also died, leaving her £20,000. Constable speculated disastrously with

5916-569: The sale totalling £250. Both paintings were exhibited at the Paris Salon that year, where they caused a sensation, with the Hay Wain being awarded a gold medal by Charles X . The Hay Wain was later acquired by the collector Henry Vaughan who donated it to the National Gallery in 1886. Of Constable's colour, Delacroix wrote in his journal: "What he says here about the green of his meadows can be applied to every tone". Delacroix repainted

6003-421: The same time, a greater emotional range began to be expressed in his art. While on honeymoon, Constable began to experiment with works exploring nature's grandeur, characterized by dominating skies, such as Osmington Bay . Three weeks before their marriage, Constable revealed that he had started work on his most ambitious project to date In a letter to Maria Bicknell from East Bergholt, he wrote: ’I am now in

6090-499: The sea, and its (to use your own beautiful expression) everlasting voice, is drowned in the din & lost in the tumult of stage coaches - gigs - “flys” &c. -and the beach is only Piccadilly (that part of it where we dined) by the sea-side. In his lifetime, Constable sold only 20 paintings in England, but in France he sold more than 20 in just a few years. Despite this, he refused all invitations to travel internationally to promote his work, writing to Francis Darby: "I would rather be

6177-419: The truth at second hand... I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men...There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth. His early style has many qualities associated with his mature work, including

6264-539: The works that stayed in the Gallery's possession. The appeal panel made no order on the legal costs for the appeal, so this matter remained outstanding. Then, a month after the appeal ruling, the Foundation announced that it would seek to have New Brunswick's Court of Queen's Bench overturn the decision; this in turn got the attention of the Charity Commission for England and Wales , the regulator of philanthropic organizations, which began "pursuing inquiries with

6351-458: The works, citing the wishes of Lord Beaverbrook himself at the time of the gallery's creation. Since the Gallery's opening, the Beaverbrook U.K. Foundation had paid the insurance premiums on 133 paintings that Lord Beaverbrook had donated through the Foundation. In 2002 the Foundation hired Sotheby's to obtain a current valuation of the insured works, which the Gallery's director had valued at $ 7.6 million in Canadian funds in 2000. Sotheby's valued

6438-688: The ‘Foster version’ was painted in 1825 and kept by the artist to send to exhibitions. A third, landscape version, known as ‘A Boat Passing a Lock’ (1826) is now in the collection of the Royal Academy of Arts. Constable’s final attempt, The Leaping Horse , was the only six-footer from the Stour series that didn’t sell in Constable’s lifetime. Constable’s pleasure at his own success was dampened after his wife started displaying symptoms of tuberculosis . Her growing illness meant that Constable took lodgings for his family in Brighton from 1824 until 1828, in

6525-595: Was "cheered most heartily". He died on the night of 31 March 1837, apparently from heart failure, and was buried with Maria in the graveyard of St John-at-Hampstead Church in Hampstead in London. (His children John Charles Constable and Charles Golding Constable are also buried in this family tomb.) Bridge Cottage is a National Trust property, open to the public. Nearby Flatford Mill and Willy Lott's Cottage (the house visible in The Hay Wain ) are used by

6612-455: Was a politician and the 24th premier of New Brunswick from 1952 to 1960. He is always known as "Hugh John". Born in Peel , New Brunswick , Canada, the son of James Kidd Flemming , Premier of New Brunswick from 1911 to 1914, Hugh John Flemming was first elected to the province's Legislative Assembly in 1944 after more than twenty years as a municipal councillor . In 1951 he became leader of

6699-530: Was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex . Golding Constable owned a small ship, The Telegraph , which he moored at Mistley on the Stour estuary, and used to transport corn to London. He was a cousin of the London tea merchant, Abram Newman . Although Constable was his parents' second son, his older brother was intellectually disabled and John

6786-547: Was elected to the Royal Academy in February 1829, at the age of 52. In 1831 he was appointed Visitor at the Royal Academy, where he seems to have been popular with the students. He began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of lectures at the Royal Institution , Constable proposed a three-fold thesis: firstly, landscape painting

6873-415: Was elected to the provincial legislature in the 2012 Rothesay by-election and served as New Brunswick's minister of health from 2012 to 2014. Flemming's family-run lumber mill in the village of Juniper, New Brunswick ran into financial difficulties in the late 1970s, but his friend Harrison McCain , organized an investment campaign that raised sufficient capital from businessmen to allow the mill to make

6960-445: Was exhibited. The Examiner described it as having ‘a more exact look of nature than any picture we have ever seen by an Englishman’ . The painting was a success, acquiring a buyer in the loyal John Fisher, who purchased it for 100 guineas, a price he himself thought too low. Fisher bought the painting for his solicitor and friend, John Pern Tinney. Tinney loved the painting so much, he offered Constable another 100 guineas to paint

7047-526: Was expected to succeed his father in the business. After a brief period at a boarding school in Lavenham , he was enrolled in a day school in Dedham, Essex. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which

7134-777: Was introduced to the professional artist John Thomas Smith , who advised him on painting but also urged him to remain in his father's business rather than take up art professionally. In 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections, and studied and copied old masters . Among works that particularly inspired him during this period were paintings by Thomas Gainsborough , Claude Lorrain , Peter Paul Rubens , Annibale Carracci and Jacob van Ruisdael . He also read widely among poetry and sermons, and later proved

7221-517: Was not until 1819 that Constable sold his first important canvas, The White Horse , described by Charles Robert Leslie as ‘on many accounts the most important picture Constable ever painted' . The painting (without the frame) sold for the substantial price of 100 guineas to his friend John Fisher, finally providing Constable with a level of financial freedom he had never before known. The White Horse marked an important turning point in Constable’s career; its success saw him elected an associate of

7308-532: Was opened. Its name honours the late wife of New Brunswick businessman Harrison McCain , who contributed $ 1 million to the project. On 20 May 2015, the Beaverbrook Art Gallery unveiled plans for a large expansion project following a 6-year $ 25 million fundraising campaign. The expansion includes a substantial increase to gallery space, an artist-in-residence studio, a learning theatre, a café, and an outdoor sculpture courtyard. It also features new mobility access features, including an elevator and ramps. Construction of

7395-405: Was personally acquainted, including Augustus John , William Orpen , and Graham Sutherland . Acting on the advice of Le Roux Smith Le Roux , he bought several paintings from the 1955 Daily Express Young Artists Exhibition, which Le Roux had organized. These included Lucian Freud 's Hotel Bedroom , which won second prize in the exhibition. In addition to Lord Beaverbrook's own acquisitions,

7482-529: Was sometimes apparent even in the full-scale paintings which he exhibited in London; The Chain Pier , 1827 , for example, prompted a critic to write: "the atmosphere possesses a characteristic humidity about it, that almost imparts the wish for an umbrella". The sketches themselves were the first ever done in oils directly from the subject in the open air, with the notable exception of the oil sketches Pierre-Henri de Valenciennes made in Rome around 1780. To convey

7569-569: Was to become the subject of a large proportion of his art. These scenes, in his own words, "made me a painter, and I am grateful"; "the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork, I love such things." He was introduced to George Beaumont , a collector, who showed him his prized Hagar and the Angel by Claude Lorrain , which inspired Constable. Later, while visiting relatives in Middlesex , he

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