Constable was born in 1776, at East Bergholt in Sussex. His father was in comfortable circumstances, as may be gathered from the fact, that the artist (one of six children) ultimately inherited £4000 as his share of the succession. He was thus entirely exempted from the _res angusta_ with which artists have so often to labour; although, with the characteristic improvidence of his profession, we still find that he had enough to do to make both ends meet. Born delicate, he grew up a strong and healthy boy, and was intended by his father, who had succeeded by purchase or inheritance to sundry wind and water mills, for a miller. Nay, for about a year, Constable actually performed that duty at one of his father's mills, and, it is said, faithfully and assiduously. Yet he contrived to turn even this episode in his life to some advantage. He treasured up a multitude of mental studies of clouds and skies, which, to the wind-miller, are always objects of peculiar interest, and acquired that familiarity with mills and their adjuncts which justified his brother's observation--"When I look at a mill painted by John, I see that it will _go round_, which is not always the case with those by other artists."
Even before his short trial of a miller's life, his love of drawing and painting had shown itself; but, receiving little countenance from his father, he had established a little sanctuary of his own in a workshop of a neighbouring plumber and glazier, John Dunthorne, a man of some intelligence, and himself an indefatigable artist on an humble scale. His mother, who seems from the first to have had something like a prophetic anticipation of his future eminence, procured him an introduction to Sir George Beaumont, who frequently visited his mother, the dowager Lady Beaumont, then residing at Dedham. The sight of a beautiful Claude--"The Hagar"--which Sir George generally carried with him when he travelled, and of some water-colour drawings by Girtin, which Sir George advised him to study as examples of truth and breadth, seem to have determined his wavering resolution to become a painter; and the combined influence of Claude and Girtin may, indeed, be traced more or less during the whole course of his practice. His father appeared at last to have given a reluctant consent, and the mill was abandoned for the painting-room, or rather for the study of nature in the open air, among the forest glades and by the still streams of Suffolk.