Starting from Egyptian blue in ancient times, pigments preferred by painters for sky blue have changed repeatedly. Here’s a brief history.
From Giorgione, Dürer and Altdorfer to Turner, Pissarro, Monet and Renoir: landmarks in the composition of landscape paintings.
Although it was Leon Battista Alberti, in the southern Renaissance, who first developed the subject of composition in […]
From an elevated viewpoint, finely detailed, great depth, figures and buildings tiny in the immensity of the view, far distant horizon – it’s a World View.
Using repeated forms, usually regularly spaced, is a well-known technique for increasing depth, adding optical effects, and more.
Early landscapes constrained the sky to a backdrop. With Rubens and the Golden Age landscape painters it became the subject in its own right.
Charles knelt at the altar in front of the Pope on Christmas Day 800. When he rose, he was wearing the crown of the Holy Roman Emperor. A surprise perhaps?
Biography to the death of Darius the King of Persia, with superb paintings by Degas, Elisabetta Sirani, Altdorfer, Jan Brueghel the Elder, and more.
The standard blue pigment for the Renaissance and on, until about 1710, it was used in many Old Masters before disappearing by 1800.
What turns statues and copper roofs blue-green? ‘Copper rust’, the basis of the intense green pigment Verdigris, used by all the Masters.