Moving back to Impressionist style, he painted the countryside around Éragny, and views of the cities of London and Paris.
In 1885-86, he decided to become a Neo-Impressionist, but after 3 years of painting some of the finest Divisionist paintings, he faced a difficult decision.
After a winter working on decorative panels, he had another successful and productive season painting outdoors in Algonquin Park.
First article outlining Munch’s life and work. His early works shocked critics in Norway, and in Berlin brought an exhibition to a premature end.
Finally, we start to understand how oil paint works – just as Modernist painters seem determined to stop it from working at all.
You’ve probably heard of him, but can’t recall any of his paintings. Here is a small selection from his more than 2,000 oils.
Thanks to painstaking work in the Mouton-Rothschild Collection, a new artist is being added to the canon of Impressionists.
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.
Marks made by the brush and knife serve different purposes from the late nineteenth century. They also beg some fascinating questions.
In addition to painting one of the major Neo-Impressionist masterpieces showing poplar trees, he built a series of Post-Impressionist pines-beach-bathers of distinction.