Constable exhibited The Haywain and a View on the Stour winning a Gold Medal at the Paris Salon of 1824, where his work is said to have been much admired by Delacroix, who later claimed that Constable was 'the father' of modern French landscape painting. The Globe and Traveller of 7 July 1825 noted that 'These landscapes have attracted great attention at Paris, and are justly admired by the French painters ( Crosby, Constable and the Critics, p.109). The Redgrave brothers also commented on the impact in France: 'As to Constable's influence on French art, arising from the picture of' The Hay-wain' which was sent... to the Paris Exhibition.. it is acknowledged even by their own critics' (see Redgrave and Redgrave, A Century of Painters of the English School p.398). In the first Appendix to The Two Paths (1859) however, Ruskin remarks 'it would be unjust to English art if I did not have to express my regret that the admiration of Constable, already harmful enough in England, is extending into France' ( Works, 16.415). (see Ruskin's criticism of Constable)