In her final years, she concentrated on her writing. But her painting continued to innovate, and she produced some of her finest work, shown here.
She started with sculptured solids which then broke into swirling fluids. Then she patterned and structured using brushstrokes. More marvellous paintings.
She wasn’t a late developer at all: for over ten years her work was shunned. Then in 1924, this started to change, as did her painting.
In just a few years, she painted more than 200 works documenting the totems and villages of the First Nation peoples of the Pacific North-West.
Early paintings by this prolific and highly innovative painter who concentrated on totems of indigenous peoples of the Pacific North-west, and wonderful trees and forests.
Trees in snowy landscapes, as painted by Bruegel, van Ruisdael, Courbet, and a multitude of Impressionists. A Wintry feast.
Few landscape painters since have not been deeply influenced by his pioneering paintings. He also anticipated photographic effects on focus.
His old oaks were saplings during the Middle Ages, and he was a great influence on Gainsborough, Constable, and others.
He intended to be a landscape painter, and was co-founder of the British school of landscape painting. A major influence of Constable and others.
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.