John Constable | The Hay Wain

About The Hay Wain by John Constable

Constable exhibited The Hay Wain in 1821. It shows a spot he had known since childhood — the millpond at Flatford on the River Stour in Suffolk, where his father owned the mill. The cottage on the left belonged to a farmer called Willy Lott, who is said to have spent all but a handful of nights of his life in it. It is still standing, and the view is still recognisable.

The wagon is crossing the shallows to soak its wooden wheels, which stopped them shrinking and working loose in dry weather. A dog watches from the bank. In the distance, haymakers are working a meadow in full sun. It is an entirely ordinary working morning, painted at the scale usually reserved for battles and coronations.

London ignored it. Three years later it was sent to the Paris Salon, won a gold medal, and startled French painters — Delacroix is said to have reworked the background of one of his own pictures after seeing it. Its influence ran through the Barbizon painters to the Impressionists. It came back to England unsold, and Constable kept it.

The Hay Wain at a glance

• Artist: John Constable (1776–1837)
• Painted: 1821, London, from studies made at Flatford, Suffolk
• Movement: English Romanticism
• Original: The National Gallery, London
• Medium: Oil on canvas, 130.2 × 185.4 cm

Common questions about The Hay Wain

Own a hand-painted Hay Wain

This is not a print. Every painting we sell is reproduced in oils on canvas, by hand, by professional artists — no giclée, no computer-generated technique.

Constable did something to this picture that his contemporaries openly mocked. He flecked small dabs of pure white across the greens — on leaves, on the water, on the wet flank of the horse — to catch and scatter light the way a real landscape does on a moving day. Critics called it Constable's snow. It works only while those flecks stay separate and sharp against the colour underneath; the instant they blur or soften into the green around them, the effect stops being sparkle and becomes haze, and the whole landscape goes flat and dull. That kind of small high-contrast detail is exactly what reproduction rounds off. Put on by hand in oils, the flecks sit crisply on top of the paint below and the light comes back into the field.

• A range of sizes — choose yours above. The original is wide, and the composition needs the width to carry the eye across to the meadow.
• Framed and ready to hang, gallery wrap, or rolled canvas if you would rather frame it yourself.
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Framing Options: You have 3 choices

Option 1. Choose an outer frame - see images below.

You only need to choose one and the painting will be sent to you framed and ready to hang.

* Below is an example of a customer who chose the Gold Ornate frame

Option 2: Choose a Gallery Wrap Stretched Painting.

If you want the frameless modern gallery wrap look then you only need to choose Stretched Gallery Wrap from the finish option dropdown.

You receive your stretched gallery wrap painting ready to hang - with a hanging wire attached behind.

The back of the Stretched Gallery Wrap looks like the image below - it has a hanging wire!

Option 3: Choose Canvas Only if you want to frame the painting yourself.

Your painting will be sent to you in an art tube - you can then frame it yourself or take it to your local framer.