European grey herons, seen in paintings by Aelbert Cuyp, Hans Thoma, Daubigny, Frédéric Bazille, Alfred Sisley and others.
Sisley
This is the time to get out and admire the blossom on the trees, with the aid of Samuel Palmer, Millais, Millet, Sisley, and above all Vincent van Gogh.
Landscape paintings by Daubigny, Sisley, Berkos, Astrup, Pissarro, Julian Onderdonk, Granville Redmond, Théo van Rysselberghe and others.
Even the most humble wooden or stone bridge has a satisfying geometry about it that contrasts with natural forms without looking out of place.
Badminton, tennis, rowing regattas and races, and boxing, pictured by George Bellows, Alfred Sisley, Thomas Eakins and others.
The changing colours of trees and their leaves, celebrated in paintings from Paulus Potter in 1652 to Paul Signac in 1903.
Brunelleschi’s geometry, Masaccio’s technique and vision, Alberti’s initial and popular account, followed by a comprehensive account by Piero della Francesca.
How to paint a landscape with faithful and coherent cast shadows, why most painters don’t do so, and a few get it wrong.
The hard road to realism: development and propagation of knowledge, how to apply it in paintings, and its benefit on visual art.
From Samuel Palmer in 1830, through Sisley’s Terrace at Saint-Germain, to van Gogh’s pink orchards, a festival of Spring blossom.
The Eclectic Light Company 