The Chodowiecki 300 Project
Born on 16 October 1726, Chodowiecki turns 300 this year, as marked by various exhibitions, publications, and events, coordinated under The Chodowiecki 300 project:
Das Projekt Chodowiecki 300
The Chodowiecki 300 project brings together museums, libraries, and universities in Germany and Poland for a commemorative program. It offers a fresh experience of Chodowiecki’s work through exhibitions, research, and digital formats, opening up diverse ways to engage with one of the most significant artistic figures of the European Enlightenment.
Works by Daniel Chodowiecki (1726–1801) can be found in print collections across Poland, Germany, and many other countries. His renown endures, and his art continues to inspire. Many institutions are marking the artist’s 300th anniversary year by commemorating him in a wide variety of ways. The anniversary program is as diverse as the locations themselves: alongside ambitious retrospectives, thematic shows, and cabinet exhibitions, there are conferences, special tours, activities for children, and more. The non-profit Chodowiecki 300 project grew out of the conviction that these various initiatives complement one another beautifully, uniting offerings from the 22 project partners under one virtual roof.
Exhibition | Revolutionary Prints from Britain and America
Left | Josiah Wedgwood, creamware jug, transfer printed with an image based on the painting The Death of General Wolfe by Benjamin West (Milwaukee: Chipstone Foundation; photo by Gavin Ashworth). Right | Philip Dawe, The Bostonians Paying the Excise-Man or Tarring and Feathering, 1774, London, mezzotint with engraving (Milwaukee: Chipstone Foundation; photo by Gavin Ashworth).
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Now on view at the Haggerty Museum of Art:
Defying Empire: Revolutionary Prints from Britain and America
Haggerty Museum of Art, Marquette University, Milwaukee, 4 June — 1 August 2026
Curated by J. Patrick Mullins, with Jonathan Prown and Jessica Cooley
On the occasion of the Semiquincentennial of the U.S. Declaration of Independence, the Haggerty Museum of Art at Marquette University welcomes visitors to visualize a passionate, participatory Revolution. Its summer exhibition, Defying Empire: Revolutionary Prints from Britain and America, explores how eighteenth-century British and American prints shaped public opinion about politics, from the French and Indian War through the end of the Washington presidency. Drawn from the collections of the Chipstone Foundation and the Haggerty Museum, the exhibition brings together more than twenty prints on paper, a selection of transfer printed ceramics, and an eighteenth-century maple dining table. Through works by both Britons and Americans of diverse political persuasions, it interprets the Revolutionary era as a time of transatlantic cultural exchange in which political ideas were communicated not just by documents like the Declaration but also objects from the fine and decorative arts.
In the eighteenth century British-speaking world, printed cartoons, portraits, and landscapes circulated widely, accessible to a much broader public than most official documents. These images could trigger such responses as amusement, contempt, reverence, and outrage, spurring viewers to political action. As creators and consumers, middle-class and working-class men and women used etchings, mezzotints, punchbowls, and teapots to participate in elite conversations about imperial authority and colonial resistance. Defying Empire provides an array of these politically charged artworks, including such featured objects as a creamware jug by Josiah Wedgwood interpreting The Death of General Wolfe, prints by William Hogarth satirizing Whig leaders like William Pitt and John Wilkes, Charles Willson Peale’s iconic portraits of George Washington and Benjamin Franklin, and Paul Revere’s inflammatory Bloody Massacre. Replicas of additional prints are displayed on a ‘coffeehouse table’ for visitors to handle and examine at their leisure.
Defying Empire: Revolutionary Prints from Britain and America was curated by Dr. J. Patrick Mullins, Associate Professor of History and Public History Director at Marquette University, in collaboration with Mr. Jonathan Prown, Dr. Jessica Cooley, and the staffs of the Chipstone Foundation and Haggerty Museum of Art. A virtual exhibit and catalog of curatorial essays will be available in Fall 2026 at the Chipstone website. For more information, visit the museum online, or contact Dr. Patrick Mullins at john.mullins@marquette.edu.
Support for this exhibition is generously provided by the John P. Raynor, S.J. Endowment Fund and in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
New Book | Constable’s Year
From Thames & Hudson:
Susan Owens, Constable’s Year: An Artist in Changing Seasons (London: Thames & Hudson, 2026), 224 pages, ISBN: 978-0500028896, $35.
Published to celebrate the 250th anniversary of his birth, this book offers a fresh look at John Constable, whose life and work were profoundly shaped by the cycle of the natural world in his native rural England.
As exhilarating as a lungful of oxygen: that’s how some of his contemporaries felt about John Constable’s paintings. Others, though, were baffled by his uncompromisingly fresh and realistic treatment of the natural world. Author Susan Owens follows Constable’s work and life through the seasons, tracing the rhythms and resonances of the artist’s year to offer a vivid, unconventional perspective on this beloved figure. Whether in London in May, preparing pictures for exhibition and longing for the Suffolk spring, or painting boat-builders and waiting to be married in a particularly gloomy September, Constable’s life and work were unusually shaped by the yearly cycles of weather and agriculture, as well as by the often competing demands of the art world. Raised in Suffolk, England, and trained to manage his father’s land, his rural background had an enduring impact on his painting. His was the approach of one who knew the laneways, ploughs, and millponds he painted intimately, and who understood the countryside as a place of both labor and natural phenomena. Though today he is often considered a traditional artist, in truth John Constable (1776–1837) was a radical in his own time. His sketchbooks and paintings reject secondhand, slipshod versions of nature, instead subjecting the land, its people, and industry to intense scrutiny; developing a new kind of painting to fit the landscape he saw with his farmer’s eye and felt beneath the soles of his boots.
Susan Owens is an expert on British landscape art and a leading critical voice in the field. Her publications include The Story of Drawing: An Alternative History, which was Apollo magazine’s 2024 Book of the Year, Imagining England’s Past: Inspiration, Enchantment, Obsession, and Spirit of Place: Artists, Writers and the British Landscape. She was curator of paintings at the V&A, and was involved in the major V&A exhibition and catalog Constable: The Making of a Master.
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N.B.— And as The Guardian noted in June, Constable’s cello will be displayed at Christchurch Mansion in Ipswich from 17 June until 4 October.
Enfilade Turns 17
From the Editor
Juneteenth! Father’s Day! The summer solstice! And Enfilade turns 17! You all know the ropes: buy an art book to celebrate. It’s also a fine time to renew (or begin) your HECAA membership. Thanks so much for another year.
Best for a good summer!
Craig Hanson
New Book | What Was America?
Coming this fall from Yale UP:
Elise Armani and Katy Siegel, What Was America? Art, Culture, and Politics in the Bicentennial Era (New Haven: Yale University Press, 2026), 224 pages, ISBN: 978-0300284430, $65.
In 1976 the United States celebrated its two hundredth year with festivals, exhibitions, works of art, and historical initiatives. Over a decade, planning for the Bicentennial spanned postwar prosperity, political activism, and, toward the end, fear of national decline. The social alchemy of these conditions produced a national investment in shared cultural experience never matched before or since. Across wildly disparate venues, demographics, interests, presidencies, and geographies, Bicentennial cultural production contended with community, the environment, immigration, heritage, technology, and what it meant to be American. This outpouring of projects both reflected and drove national debates, eliciting mass participation in negotiating US history and imagining the nation’s future.
What Was America? offers a prismatic view of American art and culture in the years leading up to 1976. Ten fascinating case studies examine the individual efforts of artists such as Benny Andrews; blockbuster exhibitions, including A Nation of Nations at the Smithsonian; and popular community projects such as protest quilts and time capsules. The authors consider issues that remain highly relevant today and offer new perspectives on the possibilities for art’s social role, exploring its use in defining the nation’s past and future, its purpose and its people.
Elise Armani is assistant curator of twentieth-century art at the Joslyn Art Museum in Omaha. Katy Siegel is the Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University.
In Philadelphia | Historic Sacred Places Celebrate America’s 250th
Port of Philadelphia, with several church steeples visible, as depicted by John Carwitham in 1752.
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From the press release (2 June 2026) from Partners for Sacred Places:
Founding Faiths: Historic Sacred Places Celebrate America’s 250th
To commemorate the United States Semiquincentennial, Partners for Sacred Places has launched Founding Faiths: Historic Sacred Places Celebrate America’s 250th, a citywide public engagement initiative honoring the historic significance and ongoing community impact of sacred places in America since before the nation’s founding. Open through the end of 2026, the initiative invites residents and visitors alike to experience some of Philadelphia’s most historically significant and architecturally distinguished structures and interfaith organizations through tours, open houses, educational programming and special events.
Through the participation of 17 historic congregations—along with Interfaith Philadelphia and The Dialogue Institute—the program highlights how sacred places have long served as hubs for civic engagement, cultural life, education, activism, social services and community gathering. Together, these institutions tell a broader story about the role faith communities have played in shaping American society, advancing social change and strengthening civic life across generations.
“Sacred places are often among the most culturally and historically significant buildings in their communities, but they are far more than spaces for worship and reflection,” Partners President Bob Jaeger said. “For centuries, they have served as centers of education, community organizing, cultural expression, services to neighbors in need, and public dialogue. They are repositories of memory, shared values and civic engagement that have helped shape our cities and our nation since long before America’s founding.
“As America approaches its 250th anniversary, this initiative creates a rare opportunity to recognize the foundational contributions these institutions have made to our national story,” Jaeger pointed out. “While this initiative is rooted in Philadelphia—the birthplace of the nation and home base of Partners—we hope it will inspire communities across the country to celebrate the sacred places that have shaped their own histories, identities, missions and civic life.”
As the nation’s only nonsectarian nonprofit organization dedicated to strengthening the community-serving capacity of historic sacred places and preserving their significant structures, Partners organized Founding Faiths to underscore the essential role faith-based and interfaith institutions continue to play as civic infrastructure. These spaces serve as places where people gather, learn, organize, celebrate, mourn, solve problems and build stronger communities together. Through exhibitions, performances, storytelling, tours, and public programming, the initiative also encourages visitors to engage with difficult chapters of American history and connect past struggles and achievements to contemporary issues and opportunities.
“This initiative also reinforces the enduring power and value of sacred places when they are fully activated through community engagement, cultural programming and public service,” said Partners Executive Vice President Gianfranco Grande. “For generations, these institutions have addressed pressing social issues, supported vulnerable populations, fostered civic dialogue, and brought communities together in moments of both challenge and celebration.”
By opening their doors through tours, exhibitions, lectures, and special events, participating congregations offer visitors an opportunity not only to experience remarkable architecture and history, but also to better understand difficult moments in America’s past and connect those stories to present-day conversations about community, justice, belonging and the common good.
Participating congregations and organizations (at press time)
Arch Street Meeting House
Christ Church
Congregation Mikveh Israel
Congregation Rodeph Shalom
First Presbyterian Church
First Unitarian Church of Philadelphia
Gloria Dei (Old Swedes’ Church)
Historic African Episcopal Church of St. Thomas
Historic St. George’s United Methodist Church
Interfaith Philadelphia
Mother Bethel AME Church
Old First Reformed UCC
Old Pine Street Church
Old St. Joseph’s Church
Old St. Mary’s Catholic Church
Old Zion Lutheran Church
St. Augustine Catholic Church
St. Peter’s Church
The Dialogue Institute
The Founding Faiths website provides information about participating sites, public events, and visiting opportunities, with programming and calendar updates continuing throughout 2026. Visitors are encouraged to explore the architecture, artistry, history, and living community impact of these historic churches, synagogues, and meeting houses.
Partners for Sacred Places is the only national nonsectarian nonprofit organization dedicated to helping congregations and communities sustain and actively use historic sacred places for the public good. Through training, research, advocacy, and community engagement, Partners works to ensure that sacred places remain vital resources serving neighborhoods and strengthening civic life across the United States.
Exhibition | Colonial Williamsburg: The First 100 Years
Illustration of Williamsburg Buildings, Flora, and Fauna, ca. 1740, copper plate 10 × 13.5 inches, possibly commissioned by William Byrd II
(Colonial Williamsburg, gift of the Bodleian Library, No. 1938-196)
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From the press release (12 February 2026) for the exhibition:
Colonial Williamsburg: The First 100 Years
Weldon Gallery, Colonial Williamsburg, 28 February — 31 December 2026
Developed by Margaret Pritchard, Neal Hurst, and Katie McKinney
As the nation observes its semiquincentennial in 2026, The Colonial Williamsburg Foundation is also celebrating its own 100-year history —a story that reflects a century of change in America itself. A new exhibition at the Art Museums of Colonial Williamsburg, entitled Colonial Williamsburg: The First 100 Years, explores the origins, evolution, and impact of this unique organization that today operates the world’s largest U.S. history museum.
From its groundbreaking preservation efforts to its evolving interpretations of America’s rich shared history and founding ideals, Colonial Williamsburg has often mirrored—and sometimes led—national conversations. One constant has driven the Foundation throughout its history: Everything it produces is grounded in ongoing research. Colonial Williamsburg: The First 100 Years explores the Foundation’s journey through that same lens using primary documents, objects and archival imagery to bring Colonial Williamsburg’s own history to life.
Dovecote, ca. 1770, made in England, Staffordshire or Yorkshire, lead-glazed earthenware (cream-colored earthenware / creamware), 8.5 inches high (Colonial Williamsburg, museum purchase, No. 1936-628).
The exhibition opens in the Art Museums’ 2500-square-foot Weldon Gallery on 28 February 2026, and will showcase more than 200 objects including decorative art, folk art, and archival material. Highlighting 100 years of history in one exhibition took Neal Hurst, curator of textiles and historic dress, and Katie McKinney, the Margaret Beck Pritchard Curator of Maps, several years. They took over the project, which former Deputy Chief Curator Margaret Pritchard began in 2021, continuing work on the exhibition after Pritchard’s retirement in 2024.
“It has been a joy to research, seek out objects, rediscover Colonial Williamsburg’s history, and talk to people who have worked for the Foundation, all of which culminates in this exhibition. Like any exhibit, space is always limited, but visitors will walk away with an understanding of The Colonial Williamsburg Foundation’s impact on public history, as well as its influence on preservation, collecting and education around the world,” Hurst said.
Added McKinney, “After 100 years, Colonial Williamsburg has become historic in its own right. Our colleagues across the Foundation, past and present, made this exhibition a reality. They shared their stories, expertise and lent objects. We were fascinated by how we continue to build upon the foundations laid out by the work of our predecessors. Time and again we were reminded of our motto: ‘That the future may learn from the past.’ Ultimately, the exhibition is about the people who have nurtured and built upon the Rev. Dr. W.A.R. Goodwin’s dream for the past century.”
Designed to be experienced chronologically, the exhibition begins with a look at communities and institutions who called Williamsburg home after Virginia’s capital was moved to Richmond in 1780. It offers a look at what inspired the Rev. Dr. W.A.R. Goodwin to envision Williamsburg’s restoration to its 18th-century appearance and John D. Rockefeller Jr.’s decision to support the project. Beginning with Rockefeller’s initial purchase of the Ludwell-Paradise house in 1926, the exhibition traces Colonial Williamsburg’s evolution from a patriotic preservation project to its current iteration as a premier educational organization that operates the world’s largest U.S. history museum. The exhibition explores Colonial Williamsburg’s research in interpretation, trades, preservation techniques and other aspects of the Foundation’s work over the decades. Each section includes maps, prints, and photographs from Colonial Williamsburg’s extensive archival collection, including aerial images of Williamsburg during the early years of the restoration and pictures of the men and women who restored and reconstructed the colonial capital city.
Document Box, ca. 1843, basswood (Tilia, Spp. by micro id), calfskin, leather, brass, iron, paper, textile, and paint, 6 × 7 × 12 inches (Colonial Williamsburg, gift of Catherine H. Latane, No, 2011-26). Owned by a formerly enslaved woman in Williamsburg at the end of the 19th century who lived with the Edwin and Isabel Beale family on Duke of Gloucester Street (on the site of the Orlando Jones House), where the family operated a hardware store.
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Curators sourced objects from archaeological, architectural, and museum collections, as well as ordinary objects from across the Foundation. Among those featured is the Bodleian Plate, known as ‘the cornerstone of the restoration’, which was discovered in England in the 1920s and helped guide the reconstruction of the Capitol and Governor’s Palace; Dr. Goodwin’s cane; George III’s coat of arms, which was once displayed in the Governor’s Palace; a document box that once held the treasured possessions of a formerly enslaved resident of Williamsburg; and a window sash removed during the preservation of the Williamsburg Bray School.
Other notable items on display:
• Ceramic objects from the collection that were buried in sand inside barrels for their safekeeping during WWII
• A mid-20th-century brick mold used to manufacture bricks in support of the restoration
• A paint chip board displaying Colonial Williamsburg’s signature colors that was originally installed in the Foundation’s paint shop in 1950
• An exhibit that explores the evolution of the interiors of the Governor’s Palace supper room, including samples of Chinese-painted wallpaper and ornate furnishings that had a major influence on American interior design
• A view of the Ludwell-Paradise House, where in 1935 an exhibition of American folk art loaned by Abby Aldrich Rockefeller went on view, including Washington and Lafayette at the Battle of Yorktown
• A vignette from the Anderson House Archaeological Exhibit (1975–83), which was designed to demystify the relatively new field of historical archaeology championed by the Colonial Williamsburg Foundation
The exhibition also includes several captioned videos and a touchscreen that allows guests to access short segments of several films produced by the Foundation to showcase its work in the digital space. Visitors familiar with Colonial Williamsburg’s history will recognize props from the film Story of a Patriot; Felicity Merriman, the American Girl doll whose story is set in 18th-century Williamsburg; and several of the Foundation’s numerous Emmy Awards won for its educational video productions.
“The Foundation has led the field of public history for a century, and Colonial Williamsburg: The First 100 Years traces that journey. As we celebrate America’s 250th anniversary and Colonial Williamsburg’s 100th, we welcome the nation—and the world—to join us throughout 2026 in honoring the past, engaging the present, and inspiring the future,” said Ron Hurst, chief mission officer for the Foundation and chief curator for the Art Museums of Colonial Williamsburg.
Exhibition | Philadelphia, China Trade, and the Making of America
From the press release (2 February 2026) for the exhibition . . .
Seeking Profit and Power: Philadelphia, China Trade, and the Making of America
Independence Seaport Museum, Philadelphia, 20 March — 3 January 2028
Curated by Susan Gail Johnson and Brett Palfreyman
Eager to prove itself worthy of trading on the world stage as a newly formed nation 250 years ago, America—and especially Philadelphians—embarked on the risky venture of trading with China by entrusting private citizens with the work of establishing trade and diplomatic relationships with the Chinese. Merchants saw dramatic opportunities to make money, building some of the fortunes that helped expand Philadelphia’s role as a major port and city. To celebrate the country’s 250th anniversary, Independence Seaport Museum presents Seeking Profit and Power: Philadelphia, China Trade, and the Making of America, a new exhibition informed by the latest scholarship and featuring approximately 150 unique, rarely seen objects from its collection ranging from ship logs and cargo manifests to examples of rare Chinese export porcelain, Chinese silks and sample books, to portraits of American and Chinese merchants, some of which will be exhibited for the first time. Additionally, museums and private collections, including George Washington’s Mount Vernon, The Society of The Cincinnati, The Dietrich American Foundation, and Andalusia Historic House and Gardens have also loaned important objects for Seeking Profit and Power. While other institutions can tell different aspects of this story, ISM is uniquely positioned to share it through its mission and location on the Delaware River, where Philadelphia’s China trade vessels launched and their cargo was unloaded.
Bowl Depicting a Ship with American Flag, ca. 1790s, porcelain manufactured for the export market in Jingdezhen, decorated in Canton (Philadelphia: Independence Seaport Museum, acquired through exchange, courtesy of Friends of the Museum, 2023.038).
“This exhibition tells the story of a critical moment in the history of our nation,” said Peter Seibert, president and CEO of Independence Seaport Museum. “When the United States declared its independence from Great Britain, we also separated ourselves from the rules and regulations that governed overseas trade. As we came together as a nation 250 years ago, we also stepped out on the world’s stage for the first time. The ISM team, consisting not only of our curatorial, exhibition and education staff and an exceptional panel of outside scholars, have brought together an amazing assemblage of objects that tell the story of our look to the East as a new global trading power.”
Organized by guest curators Susan Gail Johnson and Brett Palfreyman, Seeking Profit and Power will explore five essential themes. “Making a Nation” focuses on why the United States opened direct trade with China. “Making it Work” illustrates the tremendous technical and logistical feat traveling the route from Philadelphia to China. “Making Money” shows the array of commodities the new nation could trade for sought-after Chinese tea, porcelain, and other goods. “Encountering Each Other” explains how the two cultures learned about one another through the goods that they traded. The final section, “The Old China Trade,” explores the end of the era and the place it still holds in American memory.
“Our goal for the exhibition is to show visitors that a teacup is more than just a teacup—it is an object that tells a story about sailing halfway around the world, America’s taste for luxury goods, and how the nation’s founders imagined that trade with China might help establish the newly independent nation as a player on the world stage,” said Susan Gail Johnson. “We hope visitors will never look at a teacup the same way again.”
The full press release with details about specific objects is available here»
Exhibition | The First Salute
From the press release for the exhibition:
The First Salute: An Untold Story of the American Revolution
Weitzman National Museum of American Jewish History, Philadelphia, 23 April 2026 — April 2027
Curated by Josh Perelman, with Jonathan Sarna, Pamela Nadell, and Laura Leibman
“Had it not been for… this infamous island, the American rebellion could not possibly have subsisted.”*
This landmark exhibition marking America’s 250th will take you on an adventure through America’s fight for freedom as you’ve never seen it before—where Jewish faith, courage, and persecution collided on the high seas to change the course of history. The First Salute: An Untold Story of the American Revolution is the first-ever major museum exhibition to explore the little-known story of a small group of Jewish merchants in the Caribbean whose outsized contributions to the cause of American Liberty tipped the scales in the fight for American Independence.
Exhibition curator Josh Perelman (left) with Heritage Inspector Raimie Richardson (right) on St. Eustatius (known locally as ‘Statia’) (Photo by Avida Linvy, November 2025).
The First Salute is the high-stakes, true story sparked by two key moments on the high seas that tipped the scales of the American Revolution and its founding principles. Set against the backdrop of the tiny Caribbean island of St. Eustatius, this riveting tale explores how religious liberty, Jewish trade merchants, and the cruelty toward the Jewish community by a debt-ridden British admiral converged at a pivotal time in world history, and impacted the trajectory of the Revolutionary War.
From Jewish expulsion from Spain and Portugal in the 15th century, to secret shipments of gunpowder disguised as tea by a network of Jewish merchants in the Caribbean in the 18th century, this tale of resilience, ingenuity, survival, and the promise of freedom still resonates today. This semiquincentennial exhibition features original films, rarely seen artifacts, storytelling, and an immersive video experience that situates visitors within three of the four original walls of St. Eustatius’s synagogue and Jewish cemetery that still stand today. The exhibition expands the understanding of the American Revolution by including the greater Atlantic World and illustrating the connections between North American and Caribbean Jewish communities, offering new insights into people and events that helped secure America’s independence.
“The First Salute reminds us that America’s strength lies in its enduring commitment to religious liberty,” said Dan Tadmor, President and CEO of The Weitzman. “Two hundred and fifty years after America’s founding, this exhibition connects historical events to present-day challenges. We hope that visitors walk away considering the roles of faith, community, and discrimination — in both historical and contemporary contexts.”
The First Salute is made possible with financial assistance provided by the Commonwealth of Pennsylvania, Honorable Josh Shapiro, Governor; support from Lilly Endowment Inc. through its Religion and Cultural Institutions Initiative which propelled this exhibition’s development; and The Pew Center for Arts & Heritage. Additional funding has been provided by the Maimonides Fund, Mayor Cherelle L. Parker & the City of Philadelphia, America250PA, Betsy and Philip M. Darivoff, and other generous individuals.
The full press release is available here»
*Header quote: Admiral Sir George Rodney in a letter to Rear Admiral Sir Peter Parker in 1781 that “had it not been for that nest of vipers… this infamous island, the American rebellion could not possibly have subsisted.”
Constable 250
From the Colchester and Ipswich Museums:
Constable 250
Christchurch Mansion, Ipswich, March 2026 — March 2027
2026 marks the 250th anniversary of the birth of Suffolk born artist, John Constable (1776–1837), who would become one of the most important of all British painters. To commemorate his life and work Colchester and Ipswich Museums present Constable 250, a programme of exhibitions and activities at the heart of which will be three landmark exhibitions at Ipswich’s Christchurch Mansion, featuring works from CIMS own collections alongside major loans from across the UK.
Watch this space for ticket and booking details, which will be available in the new year, along with further information about Constable 250 Project activities.
Constable: A Cast of Characters
28 March — 14 June 2026
Introducing those who inspired and supported the artist. New work by international sculptor and direct descendant, Sasha Constable will also feature.
Constable: Walking the Landscape
11 July — 4 October 2026
Showcasing loans from Tate, V&A, Royal Academy, National Galleries of Scotland, and many in Suffolk for the first time. Seen alongside Colchester & Ipswich’s Constable collection, all exploring the theme of walking.
Constable to Contemporary
24 October 2026 — 28 February 2027
The final exhibition will highlight the relevancy and contemporary responses to Constable’s art.
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