Paintings by Richard Wilson, John Sell Cotman, James Ward, Samuel Palmer, Hans Gude and others showing the landscapes of Wales.
landscape
The more of less regular repetition of form to generate rhythms has long been used in figurative painting, but in the 19th century became prominent in landscapes.
Technically very challenging, most are painted in the studio, but some are quite unreal, and others suffer from the moon illusion.
Staffage – people, animals, birds, carts and ships – make a big difference to many landscape paintings. Have you met the Wanderer too?
With its central role in visual art, light and its source plays a critical role in composition. It’s also one of the challenges to those painting in the studio or in front of the motif.
A foray into painting industrial landscapes in Impressionist style, and some of the highest peaks in Europe. Most memorable for his apocalyptic vision of the end of humankind.
Who’d want to paint much of their canvas dull, pale grey? If these paintings are anything to go by, many of the Impressionists
Frosts herald the winter, a time when few landscape painters work out of doors, but retreat to the studio. These paintings of frost come from the hardiest of artist.
From conventional composition in the early days of Impressionism, landscapes have been reduced, eventually ending up as areas of colour and texture.
Landscapes which are quietly unusual, and one of the Symbolist masterworks of the 19th century, after which he turned Impressionist.
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