In 1865, Bazille, Monet, Renoir, Sisley and Cézanne started painting outdoors in front of the motif in the forest, and so Impressionism began.
Weir
Landscapes by artists from the USA, Denmark, Wales, Japan, and England, together with locals Muñoz Degrain, Joaquín Sorolla and Enrique Simonet.
Iron and steel mills and foundries, a printing shop, a lead mine still employing children, and spinners – all relentlessly demanding, without lighter work.
Studio interiors from John Ferguson Weir, Cézanne, Bazille, William Merritt Chase, William McGregor Paxton, Olga Boznanska, and Carl Larsson.
Paintings by Richard Parkes Bonington, Edward Lear, JMW Turner, and John Ferguson Weir, during the revival of interest in Venice.
After Church painted the Andes, Albert Bierstadt travelled with surveyors to the Rockies in 1859 and 1863, from where his paintings are awe-inspiring.
The changing colours of trees and their leaves in the autumn/fall, celebrated in paintings from John Ferguson Weir in 1901 to Paul Nash in 1944.
The changing colours of trees and their leaves, celebrated in paintings from Paulus Potter in 1652 to Paul Signac in 1903.
The hard road to realism: development and propagation of knowledge, how to apply it in paintings, and its benefit on visual art.
From Turner, through Calame, John Ferguson Weir, and the last paintings of Gustave Courbet in exile, to Ferdinand Hodler.
The Eclectic Light Company 