Trained with Gérôme in Paris, he painted fine rural landscapes of Alpine meadows, religious works, and used advanced optical effects.
Courbet’s late coastal views and waves, Cézanne’s Post-Impressionism and radical watercolours, Hodler’s sublime view over Lake Geneva, and Signac’s mixed media.
From Monet’s rhythmic arrays of poplar trees on the banks of the River Epte to Holder’s arrays of figures, more examples of this technique.
Using repeated forms, usually regularly spaced, is a well-known technique for increasing depth, adding optical effects, and more.
The first brush with autumn occurs when the hill and mountain tops change to white, as if dusted by icing sugar – the first thrill for children and skiers.
The figure appears in later landscapes, including one by Martín Rico, and a pastel by Millet, before being radically revised by Ferdinand Hodler.
Beards on Father Time, river gods, God the Father, ancient mariners, and lots and lots of artists, especially the Nabis.
Exhausted and destitute figures asleep, by Christian Krohg, Ferdinand Hodler, Sorolla, Waterhouse, and others.
Looking back at the art of the nineteenth century, there was a large section devoted to Impressionism, but acclaimed Symbolist and other paintings too.
The apogee of the Symbolist Movement in France was run by its self-appointed high priest, Joséphin Péladan. A selection of paintings from its early years to 1894.