As the Masters in the South got to grips with linear perspective, those of the Northern Renaissance explored the new medium of oil paints and their power in representing surface textures and the effects of light. This remarkable work is a landmark in the development of Western painting, and an early triumph of realism, which opened the way for landscape as a new genre.
This series of articles set out to consider how faithfully landscape painters have tried to depict the views and objects that they paint, as the ‘truth’ of their painting.
Cézanne’s final style, featuring his characteristic ‘constructive stroke’ with patches of colour built from groups of parallel brushstrokes, […]
Paul Cézanne has been repeatedly described as the ‘father’ of several of the major movements in painting which […]
Hermann von Helmholtz (1821-1894) was a pioneer scientist and polymath who had great influence over nineteenth century research […]
There are many types of ‘truth’ in painting, but the truth that I am concerned with here is fidelity to motif: how faithfully does a painter attempt to depict the objects that they are painting?