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“What say you to a summer morning?” John Constable wrote of this painting in a letter to a friend. Even after many years living in London, Constable continued to portray the countryside, dear to him from boyhood. Stoke-by-Nayland lies a few miles from his native village of East Bergholt in Suffolk. In this view, he divided the canvas between a brilliant, airy vista toward the hamlet on the left and a shady, tunnel-like country lane leading off to the right. Constable explained in his letter that the painting depicted a specific time, a morning in “July or August, at eight or nine o’clock, after a slight shower during the night, to enhance the dews in the shadowed part of the picture.” The artist emphasized the abundance of water through his painting technique, flecking the surface with white highlights to create an effect of sparkling wetness. Here, the whole scene appears dewy, with a stream and puddles in the foreground and a central tree that droops from the weight of rainwater, emphasizing the fertile land.

Painted as much with a palette knife as with brushes, Stoke-by-Nayland lacks the finish of pictures Constable exhibited publicly; it was meant as a full-scale sketch for a work that he never realized. Nonetheless, this canvas seems to capture Constable’s delight in freely scribbling and scraping the image into existence—what it lacks in detail it gains in atmosphere. The roughness of the surface evokes the textures of real landscape, and the coexistence of natural and built elements in the scene embodies an ideal of harmony indicative of Constable’s vision of rural England.