The Guardian view on Turner and Constable: radical in different ways | Editorial

Capturing the changing landscapes of the 18th century, the rivals transformed British art. The climate emergency gives new urgency to their work

JMW Turner appears on £20 notes and gives his name to Britain’s most avant garde contemporary art prize. John Constable’s work adorns countless mugs and jigsaws. Both are emblematic English artists, but in the popular imagination, Turner is perceived as daring and dazzling, Constable as nice but a little bit dull. In a Radio 4 poll to find the nation’s favourite painting, Turner’s The Fighting Temeraire – which even features in the James Bond film Skyfall – won. Constable’s The Hay Wain came second. Born only a year later, Constable was always playing catch-up: Turner became a member of the Royal Academy at 27, while Constable had to wait until he was 52.

To mark the 250th anniversary of their births, Tate Britain is putting on the first major exhibition to display the two titans head to head. Shakespeare and Marlowe, Mozart and Salieri, Van Gogh and Gauguin – creative rivalries are the stuff of biopics. Mike Leigh’s 2014 film shows Turner (Timothy Spall) adding a touch of red to his seascape Helvoetsluys to upstage Constable’s The Opening of Waterloo Bridge at the Royal Academy Summer Exhibition of 1832. Critics delighted in dubbing them “Fire and Water”. The enthralling new Tate show is billed as a battle of rivals, but it also tells another story. Constable’s paintings might not have the exciting steam trains, boats and burning Houses of Parliament of Turner’s, but they were radical too.

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