From Charles Conder’s Holiday at Mentone, Australia, to Pierre Bonnard on the beach at Arcachon in south-west France, in 1922.
From West and Frith’s early paintings of the beach at Ramsgate, through their increasing popularity in the 19th century, to Boudin, Monet and Renoir.
Perhaps the one and only expedition sponsored by an art collector, William Bradford sailed to Greenland in 1869, and based the rest of career on its images.
The other side of his work in the 1860s: chasing the ‘source’ of rivers near Ornans, serried ranks of waves on the coast, and the help of Corot.
Modern landscape painting, since before the Impressionists, relies on oil sketches made in front of the motif. Was it Vernet who advised Valenciennes to adopt this practice?
Paintings of exuberant brilliant yellow mimosa, bleak self-portraits, and his favourite views around Le Cannet from his final years.
Landscapes and paintings of Marthe in the bath reached a peak in which colour was supreme, and form became fluid and adaptable.
In the 1930s, he painted more watercolours, intimate domestic scenes, and nudes. Despite being in his mid-sixties, his work showed no sign of easing off.
The Bonnard’s spent much of their time on the Mediterranean coast, in their villa in Le Cannet. But Pierre found himself isolated, and snuck off for 6 months in Carcachon.
They start moving to Le Cannet, on the Mediterranean coast, and marry at last. He returns to painting intimate scenes of Marthe, notably of her in the bath.