How Colin Campbell Cooper and George Bellows used figures in their paintings of New York City in the early twentieth century.
landscape
She started with sculptured solids which then broke into swirling fluids. Then she patterned and structured using brushstrokes. More marvellous paintings.
His sketches and studies are wonderfully painterly, but was he painting what he saw, or what he envisaged?
She wasn’t a late developer at all: for over ten years her work was shunned. Then in 1924, this started to change, as did her painting.
Evolution from realism to the more painterly. Then in the late 1890s, city landscapes in which the people are the landscape. Remarkable paintings seen in detail.
In just a few years, she painted more than 200 works documenting the totems and villages of the First Nation peoples of the Pacific North-West.
Knowing when one of Turner’s paintings is narrative can be very tricky. But there are dangers in over-interpretation. Here are some ideas to assist in their reading.
Early paintings by this prolific and highly innovative painter who concentrated on totems of indigenous peoples of the Pacific North-west, and wonderful trees and forests.
Two people looking at a cross in the middle of a vast canvas filled with lush plains, rising hills, and distant snow-capped peaks. How should we read them?
What are accessories or ‘staffage’, what narrative, and what intrinsic to the reading and style of a landscape?
