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Monet’s late water lily paintings demonstrated nature’s capacity to inspire abstraction for later 20th century abstract painters. While Cezanne complimented Monet for his color harmonies he bemoaned his lack of formal structure. Monet did use classic serpentine designs but, he … Continued
In the multi millennial pursuit of representing our world in 2 dimensions we have devised mathematical formulas like Euclid’s theorems on perspective and Brunelleschi’s demonstrations of linear perspective. We have used mirrors, viewing windows subdivided with a cross grid of … Continued
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