Initially he applied coarser dots on areas of more even colour, used simultaneous colour contrast, then his blobs grew to become patches of paint resembling the tesserae of mosaics.
brushstrokes
As Paul CĂ©zanne reached the end of his Impressionist phase, he started painting foliage using patterned brushstrokes, his ‘constructive stroke’.
A style set by Monet and Renoir in their 1869 paintings of La Grenouillère, it became more deliberate and even adopted by those considered to paint in academic style.
Paintings of pre-Impressionist landscapes by Johan Jongkind, Camille Corot, Charles Daubigny, Eugène Boudin, and the young Claude Monet.
Initially, he followed tradition, painting studies sketchily and finished work tight and with academic finish. He progressively presented more painterly works, becoming radical in his later years.
Constable’s painterly sketches were never intended to be seen by the public, but JMW Turner’s later works are rich in marks, scratches and radical in appearance.
Brushstrokes and painterly marks in the portraits of Gainsborough, Reynolds, Angelica Kauffmann, Jacques-Louis David and James Tissot.
El Greco’s uniquely painterly brushstrokes, the oil sketches and studies of Rubens, and Rembrandt, the first major artist to intentionally leave brushstrokes in prominent passages.
From Dosso Dossi in around 1530, through Titian and Veronese in 1580, brushstrokes became more visible in fabrics, hair, and other passages.
The start of the journey from the fine details of Jan van Eyck and those in the Northern Renaissance to the Impressionists, with close-ups of Bellini, del Piombo and Parmigianino’s paintings.
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