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.
This article summarises the information that I have now obtained from working through that catalogue raisoné, and includes new information on Pissarro’s series paintings.
Perhaps they are the landscape equivalent of serial self-portraiture after all.
This article considers Claude Monet’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
This article considers Alfred Sisley’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
This article considers Camille Pissarro’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
We are all familiar with Monet’s famous series paintings of Grainstacks at Giverny and Rouen Cathedral. This series of articles investigates series painting, and the Impressionists who painted series.
One of the most atmospheric paintings by any Impressionist, it is mystifying that Sisley’s wonderful landscapes have been all but forgotten.
Ask which were the first landscape paintings in Western art, and most would suggest works of Dürer, Albrecht Altdorfer, or Joachim Patinir. But they were actually very late compared to frescoes of the Cycladic civilisation, some three millenia before.
Favourite Paintings 6: Joseph Mallord William Turner, The Blue Rigi, Sunrise, 1842, and Norham Castle, Sunrise, c 1845
Two late paintings portraying tranquil sunlit scenes of dawn over still water, remarkable in their anticipation of Impressionism.