Essential pigments for the landscape artist: green earths, malachite, verdigris, copper resinate, Prussian green, viridian, and emerald green.
van Gogh
First fully developed in the Dutch Golden Age, here are Constable’s storms, Turner’s vortices, Boudin’s textured dusk, ending in Paul Nash’s imagination.
Even the most humble wooden or stone bridge has a satisfying geometry about it that contrasts with natural forms without looking out of place.
Related optical effects that combine to give the impression of depth. Explored in Renaissance paintings, and some from the 19th century.
Ursa Major, often the only constellation people know today, the Milky Way, the Pleiades, and Sagittarius.
Its reputation promoted by Gauguin and Émile Bernard, the artist’s colony was in the avant garde with Paul Sérusier and remained popular into the 20th century.
the personification of vigilance, Mary Magdalen, in shadowplay, held by Florence Nightingale ‘the lady of the lamp’, and associated with overwork and tiredness.
Waiting the knight’s end, watching a sorceress, flying over a wheat field, or in front of a sleigh. Wherever they go they seem sinister.
The changing colours of trees and their leaves, celebrated in paintings from Paulus Potter in 1652 to Paul Signac in 1903.
The goddess Diana, Selene, the Virgin and Child, or is it just the moon in the sky of a pastoral landscape? Paintings from Bosch to van Gogh.
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