The more of less regular repetition of form to generate rhythms has long been used in figurative painting, but in the 19th century became prominent in landscapes.
Pissarro
Staffage – people, animals, birds, carts and ships – make a big difference to many landscape paintings. Have you met the Wanderer too?
Telling a story using shadows, and the nineteenth century controversy over the colour of shadows.
With its central role in visual art, light and its source plays a critical role in composition. It’s also one of the challenges to those painting in the studio or in front of the motif.
Who’d want to paint much of their canvas dull, pale grey? If these paintings are anything to go by, many of the Impressionists
Frosts herald the winter, a time when few landscape painters work out of doors, but retreat to the studio. These paintings of frost come from the hardiest of artist.
From conventional composition in the early days of Impressionism, landscapes have been reduced, eventually ending up as areas of colour and texture.
How trees came to invade Impressionist landscape paintings, in direct contravention to established principles.
From 1880, he painted in Naturalist style, then switched to Impressionism in the early 1890s. He finally embraced post-Impressionism in the 1920s.
More leaf-peeping, from Tina Blau and Monet’s poplars on the River Epte, to Paul Nash’s eerie Wittenham Clumps under the moon’s last phase.
The Eclectic Light Company 