He worked his way from rural naturalism, through Impressionism, to a distinctive Post-Impressionism.
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.
It was Clive Bell’s aesthetics which underpinned Roger Fry’s promotion of the Post-Impressionists. Here is what he wrote.
This startlingly realistic depiction of idle moments by the side of an alpine stream is composed of bravura brush strokes, dabs and daubs of bright colour. But it is a carefully contrived illusion, in every respect.
This serene and startingly colourful nocturne took painting from the heights of Impressionism towards several radical movements of the twentieth century.
A simply golden landscape at sunset, by the central figure in Impressionism and father of Post-Impressionism.