Who is the wanderer and painter in Thomas Fearnley’s landscapes? Does he have any deeper purpose, or was he just a graphical signature?
landscape
Bringing together some characteristics and features of three narrative Chinese handscroll paintings.
A landscape without human or animal figures often looks eery or unnatural. This new series looks at how figures are used in landscape paintings, with copious examples.
A truly beautiful hand scroll in blue-green style, which tells the story of an ancient ode using exquisite images.
His last great painting of crowds at a religious ceremony, and his first significant self-portrait. The final years of the eternally golden harvest.
Under pressure from his dealers, Breton concentrated on single figures in the countryside, typically at dawn or dusk. These have become some of his most popular paintings.
Dividing his time between his home in Courrières and Brittany, he broadened his range of subjects and views – with mounting success.
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.
The Eclectic Light Company 