In landscapes by Rubens, Constable, Ford Madox Brown, Frederic Edwin Church, Millet, Pissarro, Breton, and Prendergast.
landscape
When to paint looking into the rising or setting sun, or when to put your back to the sun to show its light cast on a mountain peak.
First fully developed in the Dutch Golden Age, here are Constable’s storms, Turner’s vortices, Boudin’s textured dusk, ending in Paul Nash’s imagination.
Even the most humble wooden or stone bridge has a satisfying geometry about it that contrasts with natural forms without looking out of place.
Related optical effects that combine to give the impression of depth. Explored in Renaissance paintings, and some from the 19th century.
Contents with links for each article in the series, with lists of mountains and locations covered.
When Pompeii was buried by debris from the eruption of Vesuvius in 79 CE, many fine Roman paintings were preserved. Here’s a selection.
Mountain paintings by JMW Turner, John Ruskin, John Brett, and Georg Janny.
Best-known for his watercolours of Venice, he was a Post-Impressionist, and an early promoter of the art of Cézanne and Matisse in the US.
Most are savage in winter, and ascended from close to sea level. The highest of the 282 Scottish peaks over 3,000 feet is Ben Nevis.
The Eclectic Light Company 