This startlingly realistic depiction of idle moments by the side of an alpine stream is composed of bravura brush strokes, dabs and daubs of bright colour. But it is a carefully contrived illusion, in every respect.
If we are to understand colour in painting, to comprehend how to apply pigment to depict what we see, we first need to understand our perception of colour.
This evocatively shot period biopic of the latter part of JMW Turner’s life offers deeper glimpses into his painting.
A luminous painting of the port of Marseille in dawn light, looking up towards the ‘Good Mother’ church, marks the height of both Neo-Impressionism and Fauvism.
This serene and startingly colourful nocturne took painting from the heights of Impressionism towards several radical movements of the twentieth century.
This Impressionist essay on light, colour, and tranquillity features vivacious brush work; in taking art into everyday family life, it heralds art for all.
A simply golden landscape at sunset, by the central figure in Impressionism and father of Post-Impressionism.
Is modernism different with respect to its use of visual tropes such as metonymy? The answer leads us to conclusions about the reliance of language and painting on metaphor and metonymy.
Examines the use of metonymy, synecdoche, and symbols in representative painting prior to ‘Modern Art’ in the twentieth century.
Two late paintings portraying tranquil sunlit scenes of dawn over still water, remarkable in their anticipation of Impressionism.