Delacroix’s famous painting of Marianne, personification of the French nation, does not stand alone. Here is a small collection.
The advent of wet-in-wet, canvas supports, fewer layers, impasto, and visible brushstrokes.
An unusual and original portrait, originally part of an altarpiece. Bosch’s strange plants are starting to play a major role.
There have been four different readings of this well-known painting. Does any of them work, or should we look to a different account?
First of two parts looking at the many great paintings of Andromeda’s rescue from sacrifice to Cetus.
Despite difficulties over attribution and other mysteries, he was key to the development of the Venetian style.
We know almost nothing about his life, and very few works can be robustly attributed to his hand. But he was one of the most important artists in history.
Several have had a go at telling this story – Titian, Kauffman, Ricci, Delacroix, and Denis. Do their paintings work, though?
We still associate brushmarks with sketchiness, speed of painting, spontaneity, bravura, and panache – and smooth paint surfaces, assembled from multiple layers and glazes, as being heartless mechanical essays in technique.
We should add these Masters to the growing list of those with ‘painterly’ style, and consider whether Impressionism was a development of Venetian ‘colorito’ painting?