Paintings of pre-Impressionist landscapes by Johan Jongkind, Camille Corot, Charles Daubigny, Eugène Boudin, and the young Claude Monet.
mark-making
Initially, he followed tradition, painting studies sketchily and finished work tight and with academic finish. He progressively presented more painterly works, becoming radical in his later years.
Constable’s painterly sketches were never intended to be seen by the public, but JMW Turner’s later works are rich in marks, scratches and radical in appearance.
From Dosso Dossi in around 1530, through Titian and Veronese in 1580, brushstrokes became more visible in fabrics, hair, and other passages.
His sketches and studies are wonderfully painterly, but was he painting what he saw, or what he envisaged?
His vegetable-rich portraits are unique in painting. Were they just jokes and whimsies, or is there something more substantial to them?
His rough and gestural style turned his dark tales into the stuff of nightmares.
We still associate brushmarks with sketchiness, speed of painting, spontaneity, bravura, and panache – and smooth paint surfaces, assembled from multiple layers and glazes, as being heartless mechanical essays in technique.
Portraits by Reynolds, Gainsborough, Kauffmann, and others show extensive brushstrokes.
Was painterly style a Venetian phenomenon, or was it more widespread in the early sixteenth century?
The Eclectic Light Company 