Ink, soot suspended in water, making the transition from drawings into paintings. The secret of shellac. Casein, originally from sour milk, as a binder in some vast murals.
Cooper
An umbrella Madonna, parasols of the nobility, in soirées on the beach, the rise of the white parasol and arrival of Japonisme, with Sargent and Sorolla, and in California.
St George’s Chapel, Windsor; a Spanish sacristy; Church of St Francis of Assisi; Basilica of St-Denis; Tanum and Uvdal Stave Church; Lincoln Cathedral; Reims Cathedral.
Crowds in the cities of Paris, Berlin with its new electric trams, and the rush hour in New York City. People, horse cabs, trams and early cars everywhere.
Crowded apartments in Montmartre, the Lower East Side in New York City, smoke in Charleroi and Dortmund, workers’ cottages, and more smoke.
Colin Campbell Cooper’s skyscrapers on Broadway, Columbus Circle, and Manhattan. George Bellows’ human landscapes, and Joseph Stella’s Coney Island and Brooklyn Bridge.
William Merritt Chase’s leafy suburb of Brooklyn in the late 1880s, Robert Henri’s Ashcan view of busy streets in the snow, and the first of Colin Campbell Cooper’s skyscrapers.
The development of landscape painting of the coast of Cornwall, from the late 18th century, through the Newlyn School, to the 1890s.
Paintings from Norway to California, from Nikolai Astrup, Ants Laikmaa, Lovis Corinth, George Breitner, George Clausen, Paul Nash and Colin Campbell Cooper.
From herons flying above the fields and rivers, to the bustling streets of Paris and New York. Then taking to the air among the clouds of war.
The Eclectic Light Company 