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.
Courbet
Because these landscape elements are constrained within the overall work, the artist has complete control over them, something reflected in their reading too. Such cameo landscapes are never awe-inspiring, but subjugate to the whole.
Ellen Altfest paints the real world, a morsel at a time. Her paintings are both very modern and deeply traditional, and absolutely magnificent.
Whistler developed a unique style which had much in common with the Impressionists, anticipating several of the key features of Impressionism.
Several Finnish painters assumed impressionist style, although in the case of Gallen-Kallela it was a step on his road to Expressionism.
If anyone led Impressionism during the 1860s and early 1870s, it was surely Jongkind.
Apart from his early years as a somewhat atypical member of the Macchiaioli, Boldini remained on the periphery of those other movements and kept his distinctive style as the Master of Swish.
There are several uncanny parallels with the Impressionists, including the importance of the tache and plein air painting, early critical hostility followed later by acceptance, and of course the tragic deaths of Sernesi and Bazille in war.
This book looks at the type of painting which was central to Impressionism – the plein air landscape – and traces its development from inception by Desportes in the latter years of the seventeenth century, through the Barbizon School, to its peak in the late nineteenth century.
The Eclectic Light Company 