By Darren Hartley
Compared to the paintings themselves, Camille Pissarro paintings regarded light and movement to be of equal importance. Camille and Cezanne worked closely together for more than 25 years. They sometimes painted side by side on the very same subject. This was in Louveciennes and around Pontoise where Camille spent much of his working life.
The accurate recording of the sensations one experiences from nature observation was the objective of Camille Pissarro paintings. The oil paintings of Camille recorded Sydenham and the Norwoods at the time they were just recently connected by railways, but prior to the suburban expansion.
Two oil paintings among the Camille Pissarro paintings done in London was bought by Paul Durand-Ruel, an art dealer who subsequently became the most important of them all as far as the new school of French Impressionism was concerned. In 1890, Camille painted some ten scenes of central London during a visit to England.
Jan Van Eyck paintings showed mastery in the technique of oil painting, so much so, that Jan Van Eyck was often mistaken to be the inventor of oil painting. Of course, this is farthest from the truth since painting with oil dates back as far as the Indian and Chinese painters of the 5th century.
An excellent example of Jan Van Eyck paintings can be found in the oil panel painting of the Arnolfini Marriage Portrait. The sitters for the painting are assumed to be Giovanni Arnolfini and his pregnant wife. The painting was a representation of a bethrothal in the bedroom of their home.
The earliest surviving portrait among Jan Van Eyck paintings was the Portrait of a Man with a Blue Chaperon. It presented many elements that were to become standards in Jan's portraiture style. These elements include the three-quarters view, dramatic directorial lighting and elaborate headdress. For single portraits, the framing of the figure within an undefined narrow space, set against a flat black background was the standard element.
The accurate recording of the sensations one experiences from nature observation was the objective of Camille Pissarro paintings. The oil paintings of Camille recorded Sydenham and the Norwoods at the time they were just recently connected by railways, but prior to the suburban expansion.
Two oil paintings among the Camille Pissarro paintings done in London was bought by Paul Durand-Ruel, an art dealer who subsequently became the most important of them all as far as the new school of French Impressionism was concerned. In 1890, Camille painted some ten scenes of central London during a visit to England.
Jan Van Eyck paintings showed mastery in the technique of oil painting, so much so, that Jan Van Eyck was often mistaken to be the inventor of oil painting. Of course, this is farthest from the truth since painting with oil dates back as far as the Indian and Chinese painters of the 5th century.
An excellent example of Jan Van Eyck paintings can be found in the oil panel painting of the Arnolfini Marriage Portrait. The sitters for the painting are assumed to be Giovanni Arnolfini and his pregnant wife. The painting was a representation of a bethrothal in the bedroom of their home.
The earliest surviving portrait among Jan Van Eyck paintings was the Portrait of a Man with a Blue Chaperon. It presented many elements that were to become standards in Jan's portraiture style. These elements include the three-quarters view, dramatic directorial lighting and elaborate headdress. For single portraits, the framing of the figure within an undefined narrow space, set against a flat black background was the standard element.
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