Only Tintoretto and Louis Janmot have dared show their visions of Paradise. For others including Bosch, it couldn’t be envisioned.
Bonnard
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.
Between 1905 and 1916, he often painted his models in front of a mirror, and played games with their reflections.
An overview of more than fifty years of his magnificent landscapes, from the rolling countryside of Isère, in the east of France, to the heat of Le Cannet in the south.
In the nineteenth century, with the decline of patronage and changed art markets, fables become more popular among painter, at least before they gained patrons.
Some of his best paintings of his partner for almost 50 years, in the bath, on the bed, at the table, or just walking around the house.
The Eclectic Light Company 