With a stringent palette and relentless attention to topographical landmarks as well as the distances between them, Patrick George imposed an intimate order on the pastoral landscape.
Blakelock fought with his paint until his images magically evolved into the mystical, musical nocturnes of silence he sought.
The Artist’s Garden: American Impressionism and the Garden Movement, 1887–1920, an exhibition of “vital naturalism,” now on view at the Florence Griswold Museum
Degas and Van Gogh shared common ground in their disdain for convention, or more to the point, a willingness to circumvent conventional means when necessary, which is to say frequently.
I’m lucky in the sense that I am able to portray my feelings with a brush rather easily. I don’t know whether I can attribute this to slow accumulation over a lifetime—looking at so many paintings, the careful observation of everything.
Voyeurs in Virgin Territory, a show of nineteenth-century landscape painting on view at Questroyal Fine Art, is a beauty.
Welliver’s palette, devoid of earth tones, was chosen to suggest the presence of air and to create an image that would parallel, rather than replicate, the luminosity of nature.
There is no question that plein air painting is a class of painting unto itself, and we understood early on that it can be more akin to an extreme sport than a creative activity.
Jerry Weiss on Frederic Edwin Church’s Twilight in the Wilderness, what one art historian considers among the greatest paintings in American art.
There are a couple of exhibitions of nineteenth-century landscape painting now on view at the Morgan Library & Museum.