Two of Britain's most iconic painters, J.M.W. Turner and John Constable, were born just one year apart and became legendary artistic rivals whose competitive relationship helped define British landscape painting. For the first time ever, a major exhibition will explore both artists together when Tate Britain presents "Turner and Constable: Rivals and Originals," spanning 2025 and 2026 to commemorate their respective 250th anniversaries.

The exhibition tells the fascinating story of how Turner (1775-1851) and Constable (1776-1837) were constantly compared to each other throughout their careers, creating a rivalry that was particularly felt by Constable. As the slower starter compared to the commercially savvy and precocious Turner, Constable once bitterly referred to his fellow artist as "he who would be lord of all."

The inspiration for this groundbreaking show comes from a legendary moment in art history that occurred at the Royal Academy's 1831 Summer Exhibition. After finally becoming a full Royal Academician in 1829 - a full 27 years after Turner achieved the same status - Constable was invited to hang the annual exhibition. In what many considered a bold move, he committed the audacious act of placing one of his own paintings in the most prominent position, directly next to a similarly large work by Turner.

This strategic positioning proved to be a masterstroke for Constable's career. Art critics were thrilled by the direct comparison between the two masterpieces, famously dubbing the artists "fire and water," which finally cemented Constable's long-sought status as a titan of landscape painting. The exhibition will recreate this historic pairing by displaying Turner's "Caligula's Palace and Bridge" (1831) alongside Constable's "Salisbury Cathedral from the Meadows" (1829-31).

Tate curator Amy Concannon, who organized the exhibition, explains that the two artists were vastly different in both origin and temperament, making their rivalry even more compelling. Turner, born in London, was encouraged from an early age by his father - a barber who later became his studio assistant - to develop his artistic talent into a commercially viable enterprise. Turner gravitated toward the grandeur of classical landscapes and the drama of sublime scenes, often incorporating historical elements even into his contemporary works.

One of the exhibition's highlights will be Turner's "The Burning of the Houses of Lords and Commons, 16 October 1834" (1835), on loan from the Cleveland Museum of Art. This dramatic painting will be displayed in the UK for the first time since 1883, showcasing Turner's ability to capture both historical significance and visual spectacle.

In stark contrast, Constable was born into an affluent Suffolk family who would have preferred he pursue a more respectable career path than painting. While his decision to paint Salisbury Cathedral under cloudy skies may have subtly referenced the political troubles facing the Church of England at the time, Constable generally chose more conventional subject matter than his flamboyant rival.

However, Concannon argues that "Constable is the bolder artist sooner, in terms of his technique." From the beginning of his career, Constable's canvases showed evidence of vigorous and innovative attempts to capture nature's wild, uncontrolled essence. "When you put that in the Royal Academy, in front of the eyes of the critics, compared to the smooth finesse of other paintings - even Turner's in many cases - Constable was termed crude," Concannon explains.

The rivalry between the two artists reached another famous crescendo at the 1832 Summer Exhibition, and audiences will be able to witness this dramatic confrontation at Tate Britain. Turner responded to Constable's previous year's challenge in spectacular fashion. With a single, publicly executed dab of red paint, Turner introduced an anchoring red tone into the foreground of his seascape "Helvoetsluys" (1832). The economy and dramatic flair of this simple gesture completely overshadowed the scattered red elements in Constable's nearby painting "The Opening of Waterloo Bridge" (1832), a work that had taken Constable 13 years to complete. According to witnesses, Constable supposedly declared that with that single daub of red paint, Turner had "fired a gun" - conveniently forgetting his own provocation from the previous year.

Despite their professional rivalry and artistic differences, the two painters could actually get along quite well in person. When Constable was finally elected as a Royal Academician, Turner paid him a congratulatory visit, and their discussions reportedly lasted well into the early morning hours, suggesting a mutual respect beneath their competitive relationship.

The exhibition's final section will feature unfinished canvases from both artists, offering visitors rare insights into aspects of their work that posterity would later treasure, despite these pieces never being intended for public viewing. Tate Britain's own "Norham Castle" (1845) by Turner will be displayed alongside Constable's full-scale sketch "Stoke-by-Nayland" (1836), which is on loan from the Art Institute of Chicago and was supposedly a favorite work of renowned artist Lucian Freud.

The exhibition will concentrate on the artists' lives, their artistic development, and how their work was received by critics and the public during their lifetimes. Questions about their lasting legacy will be explored in the accompanying publication and a special film featuring commentary from contemporary artists including Frank Bowling and Bridget Riley.

In an unusual gesture of community outreach, Tate Britain is offering free admission to London's black cab drivers as a goodwill gesture. Perhaps museum officials were thinking of friendly cabbies encouraging their passengers not to miss this once-in-a-lifetime opportunity to see Turner and Constable together. Given the rarity of such a comprehensive pairing, it may indeed be worth following their advice.

"Turner and Constable: Rivals and Originals" will run at Tate Britain in London from November 27, 2025, through April 12, 2026, providing art lovers with an unprecedented opportunity to witness the battle of these artistic titans side by side.