Canals from Sisley at the end of the 19th century, and paintings of Venice by Canaletto, Rico, and of course John Singer Sargent.
Why do Canaletto’s gondolas not have shadows? Where did Cézanne get his shadows wrong, and why, and what colour are shadows really?
For once the name is accurate: it originated in the Prussian Empire around 1704, and by 1730 had established itself as a standard if not entirely reliable pigment. Watteau, Canaletto, Hogarth, Blake, Monet, and van Gogh all used it.
An illustrated timeline and overview of how the human visual environment, and perception of it, has changed from ancient times to virtual reality.
The mental images which we perceive are created in the brain, which has some fixed ideas about how to do that. They’re not the same as optical laws used in cameras and related devices.
Are they part of a narrative, or staffage? Do they provide scale, or enhance the effect? Are the figures part of the landscape, or even the landscape itself?
One of the first dedicated landscape specialists who met the rising demand for ‘views’, his figures reveal his true interest in his motifs.
An innovator with his painterly style, some have suggested that he was even Impressionist – a whole century before Monet.
The period 1700 to 1850 saw the introduction of the first modern pigments, such as Prussian blue and emerald green, which started to transform paintings.
A total of 17 paintings by 13 artists from 11 viewpoints, covering 261 years of art and parliamentary history.