17.6 x 22.0cm platemark; 28.0 x 39.2cm sheet
In 1829 Constable engaged the young engraver, David Lucas, to produce a series of mezzotints. Constable favoured this medium as the most effective one to reproduce the flicker of his brushwork and the atmospheric effects of changing sunlight in the open air. The prints were published between 1830 and 1832. They mostly reflect the artist’s deep feeling for the landscape scenery along the river Stour in his native Suffolk.
Renée Free (Australia) (Author), Forest and field: from Claude to the Barbizon School, Domain, 1995, 3, 4 (illus.), 7.
Purchases and Acquisitions for 1949, Art Gallery of New South Wales, 17 Dec 1949–17 Feb 1950.
Forest and field: from Claude to the Barbizon School, Art Gallery of New South Wales, 14 Jul 1995–17 Sep 1995.
Light from Shadow, the role of chiaroscuro in spatial imaging, Ivan Dougherty Gallery, 22 Oct 2003–29 Nov 2003.
Printmaking in the age of Romanticism, Art Gallery of New South Wales, 06 Aug 2009–25 Oct 2009.