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.
brushstrokes
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.
Rembrandt’s Jewish Bride; Gérôme’s Carpet Merchant; Sargent’s Arab Woman; Cézanne’s Forest Scene. Each at different levels of detail.
Were Turner’s and Cézanne’s late paintings becoming more abstract? What distinguishes representational painting from abstract?
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