Rivers, rather than their banks, have been an unusual theme in landscape painting. Examples from Daubigny’s series in northern France, the specialist Frits Thaulow, and many others.
Caillebotte
From the snowy landscape of Brueghel’s Hunters to Monet’s Magpie, with Pissarro, Signac, Caillebotte and others.
Even the most humble wooden or stone bridge has a satisfying geometry about it that contrasts with natural forms without looking out of place.
Photographic lenses introduced depth of field effects, something not normally seen in normal human vision. A few paintings followed photographs.
How the Rückenfigur passed from Friedrich via JC Dahl to Thomas Fearnley, then was reborn with Gustave Caillebotte.
Boarding a canoe to shoot a swan in the Underworld, war canoes north of Vancouver Island, and the Canadian painter-canoeist Tom Thomson.
From depth cues used by painters in ancient times, through the many advances in the Northern Renaissance, to modern photographic projections.
Brunelleschi’s perspective projection was just a start. With optical instruments and later photography, painters exploited the visual effects of unusual projections.
More important than perspective projection are cues including depth order, relative size, height in the picture plane, and aerial perspective.
A prolific landscape painter who taught key members of the avant garde. He was also a founding supporter of Kyiv Zoo.
The Eclectic Light Company 