Don Quixote, Netherlandish Proverbs, grain fields in Ukraine, a flock of sheep in a boat, the Golden Horn, pastels and kabkabs.
An overview starting with the sculptural folds of the late 13th century, peaking with Raphael and Rembrandt, and dissolving with Renoir and Sargent in the early 20th century.
Starting from Egyptian blue in ancient times, pigments preferred by painters for sky blue have changed repeatedly. Here’s a brief history.
From Veronese’s bravura brushstrokes to the crafted surface textures of lavish and heavy fabrics with Rembrandt.
First Raphael showed how meticulous attention to detail brought lifelike appearance to clothing and fabrics, then Veronese showed that freer brushwork was just as effective.
The other half of the festival of Easter has been painted far less. Yet without Resurrection, Easter and all Christian belief would be worthless.
Completes this tour of the painter’s palette, with well-known greens, then the essential blacks and whites. Examples from Michelangelo to Vincent van Gogh.
Does analysis of literary plots offer anything to the understanding of visual narrative in painting? A journey through some of the best painted stories in quest of the answer.
Do Booker’s Seven Basic Plots reduce to a series of events leading to a change in fortune (reversal, peripeteia), and establishing the outcome?
How well do paintings of the stories of Perseus and Theseus fit Booker’s Seven Basic Plots? As he gives these as examples of Overcoming the Monster, do his stages work?