I first saw John Constable’s 1821 painting The Hay Wain as a postcard with cruise missiles brutally stacked in the wooden cart and pointing at the sky. Peter Kennard’s anti-nuke photomontage is just one of the many parodies and travesties this image of a seemingly eternal rustic Britain keeps provoking. A few months ago, a newspaper cartoon depicted a ballistic missile from Iran speeding through Constable’s painting. But when I visited Ipswich to see its Hay Wain exhibition at the start of the latest heatwave it was the climate making a scorching, ironic comment on this temperate scene.
Inside this Tudor house, grey, blue and brown masses of rain-promising cloud hung above Constable’s painted Suffolk fields, dappling them with shade. But outside the grass was straw yellow and the landscape around Dedham Vale and the River Stour, where Constable was born and in which The Hay Wain and many more of his works lovingly linger, appeared to have been blowtorched into oblivion.
