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Democratising Constable Country

Tom discusses the challenges of creating a harmonious balance at such a popular destination with the National Trust’s Site Manager at Flatford, Simon Peachey.

By Tom Crowley

Tom talks to Simon Peachey on Walk D

Alternative Constable

A trip to see ‘Recreating Constable’ provides the perfect opportunity to weave together conversations around the use of nature in the image making process

By Andy Corrigan

The Landscapes at Noon project, cyanotype images on silk of Willy Lott's house. On display at Christchurch Mansion, Ipswich in August 2022

The Good That Walking Can Do for You

In this post I join Sudbury Ramblers members Margaret and Florence to discuss the good that walking can do for you.

By Tom Crowley

Tom interviewing Margaret and Florence from Sudbury Ramblers

Seeing Constable Differently

As we look, talk and share perspectives we see something new, something different. We reach a new understanding.

By Kate Noble

Two people viewing 'The Glebe Farm' print using augmented reality in situ

When history and science collide

Oliver Rackham used scientific observation to relate current ecology to its historic and cultural context.

By Andy Corrigan

A Valley Farm, Flatford extract from one of Oliver Rackham's notebooks and a portrait of him from Corpus Christi College, Cambridge

Seek, and ye shall find

It is now easy for us to access and explore a digital ecosystem whilst, for example, we are walking through the landscape.

By Andy Corrigan

A colour inverted image of a page from Isaac Newton's Trinity College Notebook (MS Add. 3996) with a diagram of an eye seeing light through a prism,

Photographing Constable Country

We spoke to Katie Hayward about her landscape photography and what it’s like to work with Constable breathing down the back of your neck...

By Tom Crowley

Katie Hayward joined us on Walk B, photo by Amelie Deblauwe

Of Constable-bows and rainbows

By walking with Constable, from Stoke-by-Nayland to East Bergholt, and augmenting the deep blue sky with Constable’s Nayland rainbow, I became part of the visual drama of Constable’s printed landscape.

By Annja Neumann

A close-up from 'A Mill (P.1353-R)'

A tale of two bridges: Part Two

The playful sense of pleasure on which Part One ended, brings me back to the intimate sensation I experienced when crossing the two rivers...

By Andy Corrigan

The island of Klovharun, where Tove Jansson built her summer home

A tale of two bridges: Part One

When I was small there was a woodland at the bottom of our garden, its branching giants seemingly endless. I spent a lot of time perched up trees...

By Andy Corrigan

Walking over the River Box, photo by Elenor Ling

Nature in Black and White

Colour is better, surely? You wouldn’t choose to work in black and white unless you had to?

By Elenor Ling

Works by the artists Graham Murrell (photograph) and Kate Boucher (two works in charcoal), by kind permission

A Meteorologist Talks Constable and Skies

On Walk A we were joined by John Thornes, a meteorologist who has been disseminating his research on Constable’s relationship with the skies.

By Tom Crowley

'Spring (P.232-1954 (1)b)' in augmented reality on East Bergholt Common

Walk C: A Fly-by

Stoke-by-Nayland to East Bergholt form the air...

By Andy Corrigan

Stoke-by-Nayland, looking NW (HN64)

Creating Constable

Christchurch Mansion in Ipswich, Suffolk, is home to a significant collection of Constable’s work that has been collected since the 1890s.

By Emma Roodhouse

Constable carved his name and the image of Pitt’s Mill into a timber of the mill he was supposed to be working in at the age of 16, 1792 (COLEM : 136A ©Colchester and Ipswich Museums Service: Colchester Borough Council)

Constable Country

'Yes sir - this is Constable's Country!' - But what is Constable country?

By Elenor Ling

An extract from 'Autumnal sunset (P.232-1954 (1)c)'

Walking Stories

Michel de Certeau, the French theorist of everyday life, argued that walking is writing.

By Caroline Bassett

Graffiti on the wall of Sherman's Hall in Dedham'

Slow Looking

Get up close, personal, annddd sloooowwwwww, with Constable

By Andy Corrigan

Summer Evening (P.232-1954 (2)b)

Constable’s printed landscapes

In 1829 John Constable took on a young printmaker to engrave a series of prints after his own works, which would become known as 'English Landscape'.

By Elenor Ling

A close-up from 'A Mill (P.1353-R)'