Landscape paintings by Daubigny, Sisley, Berkos, Astrup, Pissarro, Julian Onderdonk, Granville Redmond, Théo van Rysselberghe and others.
Pissarro
Pontoise by Pissarro, Paul Nash’s Berkshire Downs, Rosa Bonheur’s teams of oxen ploughing, and Grant Wood’s Iowa prairie.
In landscapes by Rubens, Constable, Ford Madox Brown, Frederic Edwin Church, Millet, Pissarro, Breton, and Prendergast.
Even the most humble wooden or stone bridge has a satisfying geometry about it that contrasts with natural forms without looking out of place.
The Corydon Shepherd, those attending the Nativity, the Good Shepherd, Poussin’s flocks, Millet’s social realism, and Pissarro’s epitaphs.
From herons flying above the fields and rivers, to the bustling streets of Paris and New York. Then taking to the air among the clouds of war.
Brunelleschi’s geometry, Masaccio’s technique and vision, Alberti’s initial and popular account, followed by a comprehensive account by Piero della Francesca.
Apelles, Vermeer, Goya, Hogarth, Courbet, Pissarro, de Haan, and Gustav Klimt: their paintings now lost forever.
By the start of the 20th century, he had abandoned Neo-Impressionist for Post-Impressionism, and continued painting well after the First World War.
He started as an Impressionist before joining the Neo-Impressionists. Specialising in industrial landscapes and nocturnes, here are paintings from the first half of his life.
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