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In the 1400’s we find artists experimenting with translucent water effects. A few unpersuasive noble attempts show a bare foot semi-submerged in clear water. The surface of water is indicated with only a few strands of wavy light pigment. We … Continued
In the late 18th century John Robert Cozens discovered he could make abstract patterns that could be perceived as landscapes. His insight was a hundred years premature. By the late 19th century Impressionists were already departing from their original agenda … Continued
J.M.W. Turner, the great English landscape painter, referred to his atmospheric effects as tinted steam. He perceived their atmospheric uncertainty as his paintings’ most engaging quality. Ambiguous atmospheric effects suggested more volume, motion, and space than delineated subjects could hope … Continued
European conventions for both subject matter and composition were well in place by the 1500’s. How to describe and color, fabric, stone, armor, water, trees, were conventionally defined but, were continually refined through the sensitive observations of artists like Mantegna, … Continued
I imagine you have driven on hilly winding roads. As the road ascends it can appear to end at the hill’s climax. It appears to cease to exist. It appears as the edge of the end of the road. If … Continued
By the mid 19th century plein air landscape painting was well established by pioneering landscape artists like Corot, Michallon, Millet, Daubigny, among many. They brought plein air oil sketch effects into the studio and applied them to larger exhibition works. … Continued