This accompanies The Dulwich Picture Gallery’s current exhibition of Ravilious’s watercolours, the largest to date, and impresses in several respects.
A superb plein air painting of this scene on the River Tiber is part of the foundation that Corot laid for Impressionism.
The importance of relative size, and height in the picture plane, in imparting depth and space in painting.
How many times have you heard it said that mark-making is a sign of abstraction in painting?
The movie to accompany the Late Rembrandt exhibition. A worthy substitute for those who missed it, and an essential companion for those who went.
News that a painting in the Serlachius Museum in Finland may be a member of Monet’s famous Grainstacks series might not be as good as it seems.
When we sketch, draw, or paint we accomplish the small miracle of depicting a three-dimensional motif on our two-dimensional ground. This first article considers the cues for visual depth.
One of the most atmospheric paintings by any Impressionist, it is mystifying that Sisley’s wonderful landscapes have been all but forgotten.
Painting is about form, light, and colour. Here is a short summary of the practical points developed in the previous articles on colour.
Some men paddle their skiffs along a wooded river: a study in rippled reflections, bright ochre paddles, and watery greens and blues. Caillebotte was not only a patron of Impressionism, but shows that he was one of its Masters too.