In the 20th century, his style evolved from the Nabi. The sun came out, he used higher chroma, and painted many portraits.
Paintings from his student days through his active membership of the Nabis, including his superb triptych ‘Public Gardens’.
His later pastels are particularly sublime, with high chroma and mythical stories, include a drunken man being loaded onto a donkey.
A founder member of the Nabis, and close friend of Pierre Bonnard, he developed a unique high chroma style and a taste for mythical landscapes.
Only Tintoretto and Louis Janmot have dared show their visions of Paradise. For others including Bosch, it couldn’t be envisioned.
Review of paintings and related articles published here in the second half of 2018, starring Tintoretto, Gérôme. Bonnard, Schiele, and Poussin.
Used by Joseph Wright of Derby to symbolise knowledge coming from darkness, by Henry Fuseli for the mysterious even supernatural, and Millet and van Gogh for poverty.
The finest landscapes, from Marsden Hartley, Pierre Bonnard, Ferdinand Hodler, and others in 1918.
Decidedly Post-Impressionist, his loose style and rough facture did not impress the critics at first. Painting a mixture of landscapes and scenes from the centre of Berlin, he was still looking for the right formula.
Framing a landscape with a window forms a picture within a picture, and can reverse the traditional device of repoussoir.