Dividing his time between his home in Courrières and Brittany, he broadened his range of subjects and views – with mounting success.
landscape
This period saw him concentrate on farmworkers toiling in the fields at dusk, and he discovered the coast and people of Brittany.
People and the props which they carry can readily show the effects of the wind. Some brilliant examples illustrate this well.
Is it really futile and impossible to try to paint the wind? Here’s a selection of evidence, drawn from landscapes and marines.
An independent pioneer of ‘social realism’, his densely-populated landscapes showed real people struggling to live in the north French countryside.
Their landscapes developed a magic distinctive to the artist. Only by direct comparison are their similarities and differences made clear.
Some of his last magical paintings of the Norwegian mountains and farms, and a brief overview of the development of his prints.
His final series of Landscapes of the Moon and Aerial Flowers are among his most visionary, and refer to much of his previous work, and that of William Blake.
Ignoring Cubism and modernism, he developed a magical realism, bringing to life the trees and corn stooks around his smallholding.
Appointed as a full-time war artist to the RAF, he was expected to paint portraits of aircrew. He had other, much better ideas.
The Eclectic Light Company 