In the absence of any clearly articulated theoretical statements from the core French Impressionists, there are no obvious rules or clear criteria handed down.
Perhaps they are the landscape equivalent of serial self-portraiture after all.
How many times have you heard it said that mark-making is a sign of abstraction in painting?
The movie to accompany the Late Rembrandt exhibition. A worthy substitute for those who missed it, and an essential companion for those who went.
A short overview of each of the eleven painters and paintings featured so far in the series ‘Favourite Paintings’, forming a concise history of painting from 1400 to 1914.
Examines the use of metonymy, synecdoche, and symbols in representative painting prior to ‘Modern Art’ in the twentieth century.
Instead of depicting her as an erotic nude in a scene of lust and voyeurism, Rembrandt reveals Bathsheba’s inner conflict, and transforms the technique of painting.