Arthub Logo
Favourite Paintings 7: Camille Pissarro, Setting Sun and Fog, Éragny, 1891
A simply golden landscape at sunset, by the central figure in Impressionism and father of Post-Impressionism. Painter Jacob Abraham Camille Pissarro Painting Setting Sun and Fog, Éragny Year 1891 Media oil on canvas Dimensions 54 x 65 cm (21.3 x 25.6 in) Collection Private collection The Painting Sunset behind... Read more
Favourite Paintings 10: Paul Signac, Notre-Dame-de-la-Garde (La Bonne-Mère), Marseille, 1905-6
A luminous painting of the port of Marseille in dawn light, looking up towards the ‘Good Mother’ church, marks the height of both Neo-Impressionism and Fauvism. Painter Paul Victor Jules Signac Painting Notre-Dame-de-la-Garde (La Bonne-Mère), Marseille Year 1905-6 Media oil on canvas Dimensions 88.9 x 116.2 cm (35 x... Read more
Beyond the French Impressionists: 7 Belgium, Théo van Rysselberghe
Théophile (Théo) van Rysselberghe (1862-1926) Born in Ghent, Belgium, he showed early aptitude for painting, and initially studied at the Academy of Fine Arts in Ghent, before moving to the Royal Academy of Fine Arts in Brussels in 1879. Realism to 1886 His early paintings were realist, in rather... Read more
Book Review: Georges Seurat The Art of Vision, Michelle Foa
“Georges Seurat: The Art of Vision” Michelle Foa Yale UP, 2 June 2015 Hardback, 21.3 x 26.2 cm (8.4 x 10.3 in), 235 pp., £45.00/$65.00 ISBN 978 0 300 20835 1 Not available for Kindle nor in the iTunes Store. As the originator of Neo-Impressionism and its Divisionist or... Read more
Landscape Visions: 9 Constructing space
Every painter is aware of the limitations of, and compromises in, trying to represent the three-dimensional on a two-dimensional surface. Yet, at least until the twentieth century, surprisingly few painters have explored techniques which could help the viewer reconstruct the 3D space. A very few paintings have tried to... Read more
Art promotion by the Bloomsbury Group: 1. How Roger Fry changed history
The history of art, as seen from 2015, is often capricious and very different from how it was seen at the time. In 1910, midway between Cézanne’s death and the outbreak of war in Europe, a science graduate turned critic, painter, and art historian, organised an exhibition at the... Read more
Art promotion by the Bloomsbury Group: 2. Clive Bell and Significant Form
Roger Fry may have been the leading art historian, critic, and painter in the Bloomsbury group, but it was Clive Bell who laid down the aesthetic theory which underpinned the group’s thrust to change the direction of art in the twentieth century. Clive Bell (1850-1942) was born into a... Read more
Trees in the landscape: 9. Théo van Rysselberghe and vibrant pines
Now best known as a Neo- and Post-Impressionist figurative painter, Théo van Rysselberghe was a keen yachtsman, painter of coastal scenes, and painted quite a few trees in his landscapes too. Other Neo-Impressionists also painted trees, but van Rysselberghe was fortunate enough to paint through and after the First... Read more
Visible brushstrokes: 3. after 1865, and some puzzles
I here conclude my quest for an unofficial history of visible brushstrokes in paintings, in reaching Monet, other Impressionists, and Post-Impressionism. Last time I was surprised to find quite a painterly style in the late eighteenth century works of Francesco Guardi, saw abundant free brushstrokes in the sketches and... Read more
Visible brushstrokes: 9. A tentative history at last
It is time to close the books and come to some conclusions about the history of visible brushstrokes (and other marks made by painting tools). Evolution Prior to the Renaissance, painting media and techniques used – largely egg tempera or fresco – offered very limited scope for leaving brushstrokes... Read more