The winter saw two of his finest and most important paintings, The Jack Pine and The West Wind – both painted in the studio. But he still painted outdoors as much as he could.
landscape
After a winter working on decorative panels, he had another successful and productive season painting outdoors in Algonquin Park.
Like Poussin, most of his works are strongly narrative in intent. Did he paint any pure landscapes, or are all his figures actors in his stories?
More superb paintings from his most productive year, 1915, including wild flowers, different approaches to autumn, and a snowstorm.
In a very prolific year, he made a view finished paintings on canvas, but the great majority were plein air oil sketches, of which some of the best are shown here.
The first in a series of articles commemorating the centenary of his death. His oil sketches are simply brilliant.
Would such a great narrative painter really paint landscapes which lack a story?
In her final years, she concentrated on her writing. But her painting continued to innovate, and she produced some of her finest work, shown here.
How Colin Campbell Cooper and George Bellows used figures in their paintings of New York City in the early twentieth century.
She started with sculptured solids which then broke into swirling fluids. Then she patterned and structured using brushstrokes. More marvellous paintings.
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