Many coasts are flat – a challenge to painters from the Netherlands and Belgium in particular. Here masters from the Golden Age, the Hague School, and others take on this challenge.
Nash
More paintings of fishing boats and fish markets on the coast, by Turner, Bonington, Monet, Zorn, Sorolla, Signac, and Paul Nash.
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.
Their landscapes developed a magic distinctive to the artist. Only by direct comparison are their similarities and differences made clear.
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.
Appointed as a full-time war artist to the RAF, he was expected to paint portraits of aircrew. He had other, much better ideas.
At the height of his surrealism, his paintings were inspired by found objects, Freud, and the megalithic monuments of Wessex.
During the 1920s, he painted some of his finest conventional landscapes, and became overtly surrealist.
Landscapes influenced by Blake and Palmer, then some of the strongest images of the First World War. The start of a remarkable career.
Tracing Blake’s influence through his friends John Linnell and Samuel Palmer to the likes of Graham Sutherland and Eric Ravilious.
The Eclectic Light Company 