The White Horse (1819) by John Constable (1776-1837) depicts a tow-horse being ferried across the river Stour in Suffolk, just below Flatford Lock at a point where the tow-path switched banks. Constable, who described the scene as as placid representation of a serene, grey morning, summer, went on in later years to comment: There are generally in the life of an artist perhaps one, two or three pictures, on which hang more than usual interest-- this is mine. A scholarly essay by Frick curator Aimee Ng, is paired with a piece by artist William Kentridge, who writes about finding inspiration in Constable's nostalgic world. The painting was well received when it was shown at the Royal Academy exhibition of 1819, and it was purchased by Constable's friend Archdeacon John Fisher. Constable bought back the painting in 1829 and kept it the rest of his life.There is a full-scale oil sketch for The White Horse in the National Gallery of Art, Washington, DC.
William Kentridge (born 28 April 1955) is a South African artist whose work spans a diverse range of artistic media such as drawing, performance, film, printmaking, sculpture and painting. Kentridge has also directed a number of acclaimed operas and theatrical productions. Aimee Ng is a curator at The Frick Collection, New York, and is a specialist in Italian Renaissance art.