100 great artists

A visual journey from Fra Angelico to Andy Warhol... H owever, the sck~[ion that fo ll ows is intcndc... unique style w.s also historically significant, FirSdr, she undtTmined ,he rigid

A visual journey from Fra Angelico to Andy Warhol

100

•

ARCTURUS

Artist<' ponr.irs, kft to right:

"Ii,l' ",," I'.ul C6 tnne, Ed, ,,] ,\ lunch, \r,nCt:nt ,'an Gogh, p<~<., I'aul Rubens, Angelico Kauffi"ann,

Jean-Aug"''': Ingn:s, Iknhc ,\ lori,ot

11",::e erntrll images: D<"t:I.il frum Tb, Gartlm a/EArtbl y DdigbtJ

I')' Ilicrunp"us Rosch: Marla lita by Lc().,."k, d \r,nei: ,bail rr." " Tb, C'bair and rb, Pi", by \r,, ,rnt ,"n Gogh

nottom rO,,': E<~"J:t "I ,\ to oct, John.n'l"iStc Cor"', Rcmlmtndt , n Rijn, Francisco Gora, J'''''I><' "I'nt().-ct"', P.ul G.uguin,

I hns 11(~bcin the Youngcr, Raphael Santi J(Jl", Scll COb"an,

w Fotll.'<llam & Co Ltd,

Th.: ubli.shing HOll_"':' Iknnem CI05<:, CipPGnhatll, Siougb, ikrl<sbir<: SLl :'AP, England

ISH:\'o ~ ~n·O~ 161.()

'11,;' "Ii, •• , jn" d i" 2IIIl6

C.,,)Tight C 2IIIl6 .~ « t <IU> Publ.!,i,,!! Limi'"

CONTENTS

'"

'" Arcimboldo, G i"''''I'I'''

" Griinc"'a1d, ,\lathias

Bellini, CiovalUli

"" Blake, \\r,lIiam

Pierre-Bonhcur, Rosa

BOIticdli, S,ndro 11 HOg"lrth \\"lIi,m

"" Schiele, Egon

'" Chardin, jem-B~I,r.is!e H In gres, je.n-Augu.<le

""

Crnnach, Lucas the Elder 50 ,\Jalcl'ich, Klsimir

'" Deg>.<, E<1g>r

" ,\brtini, Simone

"" VeI.zquez, Diego de Silva y 196

"" Ducciodi Buonin<egn 00 ,\luis,"" Henri

Friedrich ('.:I<llaI' David ("- ,\Iodigli.ni, Amedeo

"" \ Vltistler j.mes Abbou

'"

INTRODU C TION

I t is a ple a sant but far from simp l e task to pic k one hundred \,'Tcat' artist.~ from hundRxls

of others E veryone h a s a range of favouritcs, and a gL"{)gI'aphiGi l spread is necessa r y too

With the carlysccdcrs, the E uropean a n t r adition crossed thcAdantic to [be New \Vorld , and t ra vel l ed with trade rs to the Far Ea st This hook helps to show how that t ra dition w a s re-

imerpreted in diffe r ent locations inL"Vitahly , my editors and I had to ma k e many reluctant

conccmpo l'J I) ' a rtists H owever, the sck~[ion that fo ll ows is intcndc<i to t ak e r e ders on a

"idc-I' J nging journLj' through the story of wcstern art , with the a id of one hundn :! examples

of its leading cxponcnt.~ F or the most p a rt, thL]' have trained, inspired or influenced one anothe r from the thirteenth century to the present d a y It is a fJscinating, L·ver-dL-vc!oping part of our l ives that we sha ll neve r ti r e of looking at

Major exhibitions a re a fe a ture of g' dll e ri es in every princ i pal c i ty now3l Li ys CUl'dtors put

modern m a sters, whose works are bo rrow ed a nd tl'dnsportL-d all ove r the wo r M Yet we must remember that we can go to the S3me g' d!! eries a t othe r times, simply to vicw their st a nding exhibitions; a nd the youngest of ga ll ery v i sitors ar e often b>1ven a spec ial welcome N a tiona l

and prov i nci al g all eries not only house famous works hut also brive us the opportunity to discover the paintings of l ess well - known arti sts These pcople f r l"tluently \\"Orkl-d a l ongside

the b'Tc a t names, sharing idcas a ni\ techniques, sometimes in

the role of teacher o r pupi l

St a nd i ng in front of a R en ai ss a nce picture h y the likes of

Botticc!!i Of Mantegna , fo r example, it is hard to imab>1ne th a t

cl a ssified a s 'me r e' C l'd ftsmen , ' Iost c a me from humble bac k grounds a nd we r e a ccepted into a studio a round the a ge

of nine At first, they e arn ed thei r k cep by cleaning a nd running e r rands, gr a dua ll r working up from a pprentice to journLym'ln and fina ll y m a stcr The fresco painte r Qnnini has !eft this d a unting account of the R en a issance app r entice's

t l'Ji ning schl-dulc: 'St a rt fin"!: of all by g r inding colours,

t"Ntall from The ,\Iystic Nat i,;ty (/500) by

Sandro Bom'"Uj

hoiling up giue, mixing pl a ster, then going on to prepare pands,

d ra w i ng wor k -tby a nd feast-tl a y.'

materials of the blL~ine< , in pUl"!.uit of lucr.ltive commissions The

appreciate that, no matter how suhlime their work, thl"}' were

lives were disrupted by w a rs, transformed hy sc i entific discoveries,

{"tit short by the tlll-.:iil"v al p!3b'lle o r twentieth-centu r y influenza

1)",,,,1 tum fr"'" ,\\ orie de Medici Discmb ldng~t

,\\ orseillcs After ,\\ orrioge

To Henry IV of F "" by

p,," P"ul R uJm" (/622-2 5)

Bri= io, On'i"o

TriR d"o Rom,

, ;:ilb pupil Go;::",}i

Ikposition ofChri., (d"aif) (14J6-4f)

Tbr fr"''''' in Ibr am-ml if S"" Marro drnJnl"d botb ,b,

",,"munal '1'''''I mill ,b, nun,' p;,-"u "lb , ;:b'H rbry

"."" dmg",d '" ''''"Mag' m,dilll1ion Fr a Ang<h"Q"

'7'-;"'" '" an il/","i"""'r ,IMt.":! in bi, Ibin pm"

appJication of paint I, "'aI "" ithal ,""bod f()r d",';ling

"'ingfalbff'! ""d ,,"bro<dny., and ".,1/ rniud '"

baaground fa",,,,,, ", II""::,, in Ibi, d"ail

Pre ,h~rs 'oge,her in 1407 A, thcir ,he Siene", ",hool Angelico nd Ikn.,<lctto

di",,,,,,l to illwnin ing manuscripts, nd i, is I",iming during 'hc fill: l'cars tha' ,heir order

p( it~e ,hey "'m.in"l in artistic 1>1"""rshil' ""!S exiled in ,hi: U m1lri.n hill 'own of FoIig""

F, Angelico S<lOn gain"l "'1., ';0", j;:Jr his within <:asy tc:lch nd 'hc bmthers a'" "", in to

,echnical ,kills in ""ml_"i,i(lfl ~nd colour nd hal<: "isi",1 ,hml

,,"is I'nJlllo,,,1 to ",.::rsl ::ing a busy W(,.-I >11(1' On<:-.:: he h.d mOl',,1 to Floren<:-.:: , 'he

Gin.'.nni hu, 'he other fri.rs n.,kn.m"l him de"lra,ing ,hc Com'::n' of S.n ,\hrco, Fn 'Angelico'lt:.r his pil"Y'nd ,hi: be.utiful worl Angelico's h.ndling of fo.-m, PLT'l'l-cr;,'e nd ,h he p",<lu<:-.::d lie is "'I>u,,,l nc • ::r to h".:: ",lour d""dopcd e"'n fur,her Ik""d",to is S3id

Philip II of Sp:oin with the Order of the Golden F1eece (/565)

AnguiJJda)-lifo at 1k Spani'h Cour, Ivgan in I 559, , ;:b", ,b, ';:ar imrod"",!

IH an artist a!andy tror'ry ",b high'" nganJ AngtUIRJia mad< ,"uch u" "

,b, balf -Imgtb f"Jr1l7lit throughoUt b., "',ur

S0itJniSh child"'n _ Anguiss()1 waS one of Se,"n six girls and boy _ ",hast: girls H()w<'I'IT, to p.inters' thCYWLTc Slu<lios sdl rut allow,,[ to bcc hec:"",, ""ct:I I~" llc

enlightened father had his Elmily workshop "I,,,cn,ius and worl alongside the

principl"' "in ,,,,u1,,,<1 in ",,' of his <hughters, 'ul ~ ""ts thL'Y ",u1d I" int _ no nude males, for S()fonisiJa and Elena, going to study f()r cxaml ~ e _ and s<' Anguis.oia found hcr niche in

Anguissoh' unique style w.s also

historically significant, FirSdr, she undtTmined

,he rigid anificiality of &4ional~e l_ml'1irs:

and "",,,,<Hy, she <Jc.n>nstl'1,ed wha, k" le

sens.it.ili'r could I,.-ing in the way of e,mtiollal

can<k,ur '" ,he ttsl.: of c:tpturing a lilene,;,;,

Through her many self_ponrai,s, she was

co ",£01 nJ "'''phasiz.c her Own refined I I'1C"'''

in ,he"e stin-ing ,imel, it was stiD i11l1_,nan, '0

"'Ill"y m,><lesty and ,i'ttJe

The G~me of Chess (/555) 7bt-" if 'k AnguiJJda ,if"", Lucia, E"rop" ilrId iIIimn 'a, play ebm, , ;,bil, ,b," ~t'"",JJ looh on, Tb,ir old" ,isur SofoniJba, 0'" if Ik Jim 1::"",'" to

gain an i"',rTlati""aJ r'P"'arion a, a pain=, bad a maru<U"", ability to

wP"''' b" ,it,,,, '"pr",j(J''' and '0 "WIT" rb,ir ',"(Jlion,

Anguis'oh's tt k:n' made hc:r lit ,mIlS all 'NtT Eumpe, bringing he, into """act with

\'~ n Dr"! ncar 'he md In bcrwt't:n, she was

appointed no' only OlU" I",in'rt to Philip II of SI",in bill also hdy-in_" iting to 'wo ,ue"""i,,, qut't:ns I"",restingly, she r",<"in,1 a ",hr)' OS bdy_in_waiting; htT ari''''''l'1tic status p<",'en,,,1 her fmm selling hc:r w()<ls and 'hc:y were always "",<Ie a< gifts to th;,se cOIl<cme<l

A magnifi,ml piKtrait of R udolf il ii' tb ll1Iam, R oman god of"'Kwllion Il1Id

Ik changing " ""., \'enumnus 1::a, abo ,b 'Y"'bd of C(Jmmffu, 711

""fJ'Yar 1::a, tkligb"d ,;:itb 'k itka afbimulf at lb ,,"bodimml of fruitfo/lUE, barmony and a nrong <C""""'y, IlfId pr"mp,ly Itt;:artkd Artimbddo tb ,i,l <I Count PalalilU

Ggrut ingcnuity iu"'I"e Arcimboldo was an artist of I're_,t.,ing the

Surre.lists 1»-' Mer 300 ye.", hi

c''''pos.i,io))s of p.in",d Aowers ,'egetables and o,her morc Ilium: ohjects took 'he six"'<:nth-c<:ntury llapsburg Coun by "nnn

11",:e sutces.i"" empef()f"S, Ferdinand L ,\I:tximilian II and Rudolf II, b<:C:tmc ,but""

of h exnaolllinary I_mrait ",ric •

In 1562, Arcimboldo a,.;,.-",,,I an il1~><"lial imitation H.I lef, ,\lilan for P"'goc Then: he assumed 'he I"'" of Court I",inter and d<",)<al<).-, e,"nts ',.-pniz.cr, CostwnC ,k:signer

and all-",un,] • n "h'i«:r

The UfF'iri in Flon:, ,c has red le.,her f, ~ d"" de'~""ted I<) Rudolf II Inside are 148 of Arcimboldo' pen and "'"iSh ,k<~ches dettiling

UlStwnes nd '1''''1''' ~)f ,"rious <~'<:nts ",.,,1 0., da<si""I.lk·g<>ry 1nc", e_""g-'nzas wen: designed I<) ,~sl~'Y the 1I'I"burgs' dJ'nastic 110wer to hundn:ds of high_ nking gueSts 'ille Umri l )( m~)lio is "LTY ",re i,em, as littlc of Arcimb"ldo's s.igned wo k ,ulVi,'cs,

m)< ,~d he I"",,: ny writings, khough he

known to hal'e heen highly "Iucated Ilis

bu sp'nn,,1 the ans, scien"'" <:ngine"'ing nd philosophy, he ,,'"is • trut 'Renais"'n'"

man' Y'" f,)< nO olll;ous n::I5<))), his work sank Along wi,h ro)"tl w"ldings, festi,;,ie,., into obscuri,y until re,~scO\ered in the

Court <'o."isted of l'.gt:.nt< and I<-.Jm'ments ninct"'nth """tmy

W2ter from 'Inc Four Eleml:nlS' (/566)

Ar a y<lUng man, Arcimbddo painud nailUd g/= for Milll1l ,atb.drut hilt j, "'ar

,bnlugb tapm'7 d.rign tba, bi< richly arrllll"m!lli nyi """yd to mat"'"' in tk painml "rj"o/'S""S<l<IS' and 'ElementS' ArdmboJdo 1::ar '" ropy \\' ''<"1 many r",m,f()r gifr to imp",rtb." mip i mrr ,,·itb tb g/oryofrb H apJimrgr

"", B,Oini n!pruduaJ tb.1frcr by painting til< nuf"u roughly in onl" li' alttb ,b, ligbl

G im,anni Ikllini i re'I><Jnsiblc for

ising the ,t3ndanJ of the \'cntti.n s<·hool of I",inting to thc I><,;nt wherc the city ri,'alled Floren,,, as • Centre of RCn:l issanet: excellcn," Ilis fAther, rother nd brothc:r·in_J.w W,TC .ni,,, tm, but it is the latter, Andrc:l M~nt c gn:.o , who initi.lly Si>UIT"J Ikllini On to p.inting J.nd=p'" and defining the """"J of a picrurc

Likc.1I his hali.n "mtL'''I_''''''es, Ikllini was accustom"J to working in w te,_bas"J

"."1"1'=, eithc:r on w'><Hlen p.nck or pl,,-,,cr walls Ilow",'er, Onet: he had ""en the won: of Rogier ,.n dcr WC) Jcn he was ger to trphc Flmli,h oil glaring tcchniq"" brought to \'eniet:

byAntondJ.,h,\lcssin in 14i5

Ikl~ni was always cxperimenting No,,", with

fingcnips _ r""c:lling nCw ,lepths n, lill"ilia, colo rs nd dL,nanding • diffLTCnt typc of brushwo,k _ he un""'ercd • wc:llth of possibiliti", \Vhcn Hellini learned how to tnn'J.", the \'cneti.n pl.}' of light betwC,,, sky and w.tCr, he h.d the key to all thc subde hall"oni", nd I illi.nt ",lours that would

"'me to signifythc <ct.",1 "fVcniet: f, the nCxt

",,' <"<-"Ilturi",

Ikllini inn""n"",J the cou,,", uf Eur",can

apl"""iet:d to his "" k.<I" " T"", "f the mo" fAmous w,TC Giorgionc nd Tit",n, wt.,"" later

""al,y he "",k in his ""de On a ,'isit to \'eniet:

in 1505, Diirt "1" ""1 'he is n:ry , ~ d and "ill

he iSthe be" p.in,er of them all"

,\bdont1.:.l of the M., ~dow (,,15(15)

&Uinil Mat/()nnat;;.y" !Ortually bi, rrad,mllT}, at;;.'", tb, m'l'niry and tmdrrn= t::i,b ;;.,bicb b, porrr"Y'd ,b,m, H,.,., 'h< ,bild J= ,I."" Hirrfillly

IllIlkF bi, ,"",b,.,.l- K"'" t::bik daily lift K"',on "'bind ,b,m in "" ",b, ar~'rr',

"''lui,i" landmzpl'!, Only tb, brooding rtn.'m and ,b, ",J.nJn po""f 'h< Vnxin bint a' rh< day m o,k'llT)', t::bm tbi, JIlm, ron ;;"iO Ii, d,ad in h<r lap

Puhlirb" S ngs ,,(Experience,

illt/uding 'n,

Tygn' Tum up by parron WiDi"m

Hay! q BJahr

,"ot~ to Pdpbam,

Swur CbiU"J{'dt::itb ,,,.,,,on III

Chid",,,, and

""I uirud

Pubh',bd ,\ 1 ikon,

i"dllding ,]mwbn

71xJlnllS Bu"" v:ba '''pp",",,;1 bim by ""ding bit w" for dt"tn::ing /",,,,!! Blal:,

,bought jt ,"or< "biea/ '" paint in "'''f''Y''' a , ;:" ,- _"'=d "",/i",", ,ban oil, ill

it ,",'a, ,"a" d,,",mding of ,b, artin', ,h'l/

W illia", I.' and mystic ";'iona,), RI.kc ~ eng"""', ~ ]"interwrotC, Haman lIe c"un'ed and llenrRo}' y"] , "dem;""'" Fusdi a",ong his ck,,,,,, John

illust,.,cd and printed his own friends n en ,hough he had <~slik,,1 ~""111

h oks It ,,-,,; his belief ,h., tho: im.gin.,ion "1< ",h()<~ing himself RI.ke claimed n) h."c ""'" ,uP""-;'" to , and mOn: rC11 than, the ,.,;"n.li,m gho,ts and a"gels >.inc<: childhood ~ ,,",'CJl th., he and 11l.,.-ri"li'J11 of his day: he found himself h.d s ,)k<"Tl to the \r,rgin ,\!" y _ s<) it is dcar finnl}' outside the ruku, 1 mainstrC1m in the that Fuseli', fa" ,y art was in tunC "ith and Age of Enlib"'",nmCJl' lIe "'.,,, Iso "sul'l',Jncr inAucn""d his own The muscular nude of

of the F "'nch and American R.""IUlio,,-, ,\Iichdmgclo arC ano.her dca, inspi,a,ion,

N",,10n(1795)

In tbiJ larK', t~ry 1K",,"pJ;'b.d "'lour prim, It"", "',,;:ron ir Jbm:.·n Inl1i/y

J7ltioflllli~ing lb, un;"""'" ,;:itb lb, aid of a pair of "''"pm"'' Blah tIS,'idd ,b, /Nxkground into"'" brigh' and on, dark ",ti , impJying tbat tb gr,a' ma,bnnatilian and pir!,i';" ""'ugb, no, mlighwunm' bu, a ~dJm nigbt _ tim" Blah b.1i<tJI!d tbal UTtim ala", "Yr' "'palm </ tIS,-;", inrigbt and tbat tb, t<JlJl "'o1f

abayJ Jtruggling to fr" imlf frum ,b, ",nfin" of "am" and organi~d n4igio"

t"'n,krring r"""'<£"<] im.!:"s of his words and and ",fined the <k:t:tils in ink and ext'" p.in~

A '::ard<d Jim Gold

BuY' roa""" ~ar

Fontalruhkau,

,b""t/,;:itb N",ball Mi""

Ji'( -} "II> cbi<jly

in Eng/lmd

ilIi"", Rdllli(J",bip

"'J1hJi , bd ,;:;,b AnTIll FJ""h<,b KJu1l1ph Through EmpmJ Eugmi" M""'''

Ploughing in N i,'em~i s (/84S)

0", "&nhrorl '""" "Mffaud ""imingy /, it /m"J on Bonb",,-', "','"

paint'" Tb, nobility a/lb." bUK' labouring ani1l1ah "PP<= to _paD" lb,

T he eldest of IiJur child"'n - all "f th,,"

ani,u _ RoSOl fi<,nheur <k:cid"d early'"

'1',,,iali,,, in I in,ing and sculpting animals lie, Iit'her encourJ.g("(1 her h) alkJwing

~ sh,,,p '" be kel" On ,he b: k:ony of their sixth·

nom I'.ris apatbllen,

llonbeur's unc"m.:ntion.lity w"ls' ke}TlO'e

'" h He: 4e wore cr<1'I",d h.i" ,mok,,1 in

public and, whm "i,iting ,hughterhou<t:s a 1 m"LetS to study nim.1 an.tomy, C3,ried au,hori""i"" by the Paris Pn::h::<ttJre '0 wu, a m.n's 'n" s ~nd ""'Jeli: in pulllic The SOIme outfi, worn to ,be thC3tre dn::w loud """l~.ints fmm a m.n in the next IlOx, until he was ,okl ,ha' 4e "'s the Etm()us a'bSL

llonheur "Jmmunica,ed • di"'ctne« nd

hone"y with h nimal subjects so ,di-eshing~' fret: fnJlll 'he social "Jmcntions ,ha, ,he h.d to ""'tend with herself as ,hey were Iler worl "'s echin",d h).' 'he S.lons

.nd she m.de • good li"ing f,om it, while st,,,ring de1r of the "'ml~1:X sm,imen,.li,}, of ,be age

'Ihen:: ,,",S no n'''m~'' smtimen,ality., her ch.""u when:: >he housed men.gerie ,h., included p,i, of lion<, • >tag, C3ttle, num.:mus

< ~,gs and P'rtlJL 'Ihe ch.,c:tu -as al,o hon'" '"

a fn::e 1rt chml: 1I000h " as 'yml"theti; ,cacbcr, just as her f.ther h.d been She "'s well·1mown~" he, gencr",i,y ",,,",,d ani,1S in

<lifficuhya IIi>, m.king p,mision ~"<"I'el)'o ne who w<l<k,,1 f,,< he,

Buffiolo Bill (/889)

A porn-a;,"[Colmu/ It;Ui"m f: Cody, ",/m-t'i" b",,,.,,

il! ,b ,/w!:-"",n 'BuffillJ Bir Thi, por1rai, "'a, mw/ afur

Co,ryl-t',i, Jo &nb"rrJ roa,,,m, during lb EtlTop<= "'tIT o[bu Wild

U·'51 &bj,itil6l in /889 A[u,- &nNllrl- dwb, i, "'il! "f""dtlad '" a

po51<1" w/"<rliring lb ,bm;,', Jour" 1905

King G~sf"'rd AdorAion of the M:.ogi (d""il) (151(1)

Bow', /i",r ""rh tkpicud fr~'" and larg" fig"'"" playing OIl'

Q 'ingk r.-m" Gaspard j, "," </ rb, Magi in &,ro) '-"";iII of ,b, At/()rariorl_ B,bind him, bit pal:' 1:'<'1lTT a bi=arr, 'bomy

}mmdrnJ, 'Y,"/xlic </ ,b, oo/y <Tin::" ,bat ebri" ;;:il/ r.'.,- ' ::'IIT

H C3tcg<>rj,,,d ictn"}"llus lie Rosch links back C~n not to the be litllliliar ,hi: hWlla" I'r"y"ms ""n<~tj()n ~nd ~JIIJIIi ,,,,,,,,, ()rc t() tion<_'IH<,<",unCn, on cad

illumin.",d "':l"uscriplS , the Slme ime H

painting Ilis f.milr WIT" lay "",,,,I,cr< of ,h<

Bro,hcrho(kl (,( Ou, Lady in \<_llertogenl -,sch

1ni< Catholic gr()up W()<kt,] ~" the cul'ural

Hosch's unbridl J imagina,ion cxplo(k:s as h<

and his inner na'un: "Inere are "'any ,h<'"ries about his "-"onishing ,-is;o": one of the mo"

d crrin'" of a hen:,ical ('",(",ic S<'" ""lied ,he

p<ocl.im a n:,da,i()fl, and 'h, diving ag1in

h.ush o"'

"Il>c: register ,ha' ""'onls his dc:tth describes

Bosch as 1 'dis,inguished pain,er' lie "'""s

Elder and his allegori", of ,-ilt.g.: lill:: b,er, lk,sch's I" intings wen: a,-i(Hy collect"] Il)' I'hilip

II (,( SI" in he~, n: ,he I'ro,e,t:t n' Rcto<lnation

o j)

The G~rden or E.orthly Delights /500)

On, if lb bm hi""", if &J<b', painting!, rbi, it ,b, "n", p""'/ if a bilK' panorllmic tripryeb 711, "''"f'O'ilion ;, mll5urfoJ in ,b, "'try b, '""";fllli"" IN picr<=-pJ_ "'ram ,b, """ and difr-r"" J,, ~I! if aern:,ry in til< pier , Argumm" ",,,tin,,, ,., &><h', intmtioTIJ ,dtb ,bi, "'",k, ivtt."«1I !Ix", 1 ;:00 1N1ir-.', it ,b.m'r" ""rid mgagro in rinfiJ pI,am", muJ ,00 roo tbint it i, 001I'

humanity might bi1'~ /i!·,d , :.';,Iwu, ,b, fl aD "IAdam and h "

D with three m'j(uring his lilt: Rotticd~ l< l>hilo'ol'hies w"" oonn,-"""I Iii

c.rlr I'ic"m:s re stlnd "I ,\ 1a,t'nn:l<,

k:.so "1M 1,,-"';(.1 J;dbl llottict:Di's <rleb t,-,] '1");In' worlo;, 7b, Binb<!lhw 1 Pritlfllt""'

hcrJ"hingch.nge<l.vin in 1491, f( ~]owing m,,1e ~Jt guilds nd I'ri,.", clienlS IlowCl'cr, thl: d".,h of Llr"nzo Giro!.mo S""n'ru!., Rotticd]i's reJ.tionshil' with co",'!:ntion.1 f.n.,ie.1 ,'ic r.g.::ncr.1 of the Dominic.ns, Christi.nitru lcrwcnt, (~cal.diu;;t", :ntwhen ni,'cd to d.im Florenet: I d 1<" Christ

he won the 1" tron.ge of Horenti nl: ruler, Sa,onm~a i"-"it",,,1 the inf ",ous 'llonfires of

Dc:' ,\ bG<i ad,,,ea,,,d hwn nO;.I1\ th",ugh thl: ~,lIowerS, ol><:,~endr th",w ""'e",1 of his Own N",·P1anlrli,ts the "'h(~.rlr gnlUI' of men hi: ,1N"'ing< nd ] inting< into thl: A.mes The

"~I"",,,d .,,,u 1 him TIK;r i", .,IS nl m rrr rem.ining pictures of his e.re re notic""blr d.ssical I'haoso]>hr with Uristianitr ~,r.n mo " ,,>her in nlnc

entirdr new ';L'W of tl><: unil'<"rS<:: one when: lIottiet:lli'" ",OoSt E""ou;; pupil "" Filil'l'ino ]"Vni,,,, was tc.<]lC""-,1 nd neg"rr taught life's Lippi, Son of Fili],,,,

The Mystic N:rth';ty (/500)

711, inHTiprion "ftrring to tM ApoCDIy"" and ' tTlJUhktoi I taly' iT in both 'rYu}

and Luin Botti"Oi hat u"d an ttrroai( dr ic, tha, magniji" 'M VlTgi" and

Child; alrog,rhN", 'h, pic,."., if callingfor a wurn to ,""Jir ai m(Kality

H i, "tIt",;,-, 1""ng ",",/Illn ilY' t~ry m",b of 'Ii<ir ,,'n tim, : 'Th, pmy tbing

French art of the rightttnth Ct:ntury took its cue from the hedonistic COurt at Versailles and espttiallr fmm Louis

",Y', mi,rress M dame de Pon~l1dour, wh(",e f,,,,urite anist w'1s FrJ."'.,';< Ro ,he"

Roucher was the supn:me cxponent of Rocc.::o, a lu_mrious d,-'::o1'1ti,'e strle, which

sensuous, light.hcar",d m}~h , ~ogi<:":ll subjectS: godde><e< and cupids cOl'orting happilr nl(lngSt the douds mim,.-ed the self indulge,",e of the Frmch ar;'t[)er'1<:)

AC'l<itmic ohje",io.,s were rais,,!, hmh to il<, ,her's subject matter and use of ,,~our but these were as much against the self·made dominated the wulthiest home interiors M rquise de Poml'''[our' I"""etfull""nnagt: Aln:adr an cxttllmt draugh~'11lan he rrained as against il<",cher himself After all was it ,"It with Lm",)',", the ttiling anist at Versailles: u,uallr ari'tocratic mm who commissioned

fnml Lmlo}TIe I-.:: l<:":lrn",l" ,'erS:ttile technique picru",< of enticing pearlr nudes?

that he apl~ ied to all the de"" ti," 3Jts he "1< il<JUcher "1< "LTr hard wo.-ling: he would engagt:d in fr,." "'I""")' to I",.-ttlain designs oftm 'pe.-.I twel,'e ",urs , dar at his e" .:I and After thn:c J'e'1rs in Rom" lIouch,,, tti",1 1'1n" busr Studio where F1'1g()flard ,,"1< 01'" of dL,nonsrrating his seriousness with a h::w hi"",y his pupils, lIe <lid h,", a hcautiful ife with paintings, Rut they were not to the curr<TIt ttstC exp"n,i", "'->les that he ""1< ohligt:d nl please

Or fashion of the timt so he mt f,,.- the m("'t but dedan:d he would "",'er wi,h to exchangt: luenti,'c ,,'nllnissiof1S and wOn fame ith his his Ca"'LT foO' '11)-' o.her,

M:arl:.m e d e Pomp:od o u r (tktail) (c.I758)

7br-OIlgb &"d=, ;\talli,m, tk Pompaoour Ja'" a ,",am if portraying b,,""lf a! Fran,,', IImbarrilOOr if ,b, artJ /-I, ,,'W "'" kun <In painting port"';" and

in 1m"" ,b, c<lnfitkd ,my ".= ""t "clJ{t h'km,<= but !k didn't mhlt! '" /<lng

w tbry prop"d tb, rigb' hnag' /-I" tk i, a, a "",nan if lim-ary

atUJmpJi,bmmtJ, E.rp<rt rmd<ring of1m-go"'" "mi1llit '" tbat, ,,·itb bi, fatkr tm "nbronny d"ign<r; it i, lil:./y tbat B""cb,r 1lR:! and bandkd fm

fabriC! from an ,arlyag'

,acb by dinging bJiT/tOy to lb na:t, aT< jopardi=ing lb," 0"'11 wk-ation ra,bff tban t ", ki ng it aU! for , bt-,""h~J

A"'tha' ftel1larlal>lC f"",.bout , ",,,,,lIing nIL-n,i,'ciy in Pi",,,, Bruegel is lral)· So i, w]'I'n n outhe prild be ~ nmistatrt kne d to G(conlU", him with ~tzius the eng""· One

he returned fmnc t" then "'<IDne work of his I",., nt figu"'s,

in an unahe",d Flemish style Ilis ltolian lie hegan p'inting c<,mpHa,j,'<:ly h,e, sie,chbo"b were lUll of the g",nd< " of thl: P n"", 'br ,h'es frum 1558 It «:t I",,,ern f, All''' ",th~ , th.n col,;es of Renai"'an"" ~rt combining ,cal ism and imagina,inn, dnu],tlc;;s H'''''gd the Elder "1< nidrnam"] '1'<"1<.nt" inspi,,,] by Hosch, Simil~rly H,ucgel" he""u , he liked to go in di'gui", ~mnng ch~r1C,erS nftcn po,n' to mo",l and m,ke

o"linary worung 1><'(JI~e , lIe ""1< actu:t Dy One s:niric~1 oh",,,,.,i<-.,,, On lill:" ahl>:,ugh Hmegel"s

of ~ glllup of di'tinguished Flemi,h hwnani,tS, apl"''''c]' is '" ther ,m'" gentle tha n Hosch' • which included the geog"'pher Ondus, also "Iru " robust ='1,tions an: Th< P ilD of ,b,

R ,IvIAng,b , TN Tril,'"pb.IO""band MadM'g

im.gc wa< anrihuted to Rosch until rctrlming

r<~'CiI"l lIru"gd ' s;gnatun: Ilis '''ngdiJl Mad

iI/'g may be • n:kn:nu: to thl: termrS of the

Spmish Inquisition

lI,uegd m,,1e sc.,;.I.nd 1.,lititalll«lte,ts 1<

rc:t(tily 1< he <"lch,Jtcd thl: jO}S of li'ing In

painting he ~'w)(l "itllme'ns of ""prt:ssing his

inner and o "., ,isi()f): 'In 11 my "." b therc

,,-as mOn: thought th.n p.inting:

Chi Idr<"tI 's G.me (1560)

Tbj, "in;, "f ,b I,,'"ow- Eng/im puNic rdxxJ lUar

Wind",r t , p";""d "';;"arm lb rod "f Cllnm"'o I

An",n;" Cln,I",,,, ehoo" to paint his The <"m"-" itself "" •• well lrwwn, and fir"

n3li,,: cit)" Venice Ln<""'ing it c"u1d """,,1,,1 in I 550 CanalettIl 1:1 ught ,,"'crS hOI,,' make him I~""ty"f ".)n<) Ili< ~ ", "'ul to use it ~nd thus ",nder l'e<Sl'~cri,'e _ m'''.'''' of det.il",:! ",hit""'u"" shimmering {'(,mincinglr Iii, n<l,he , Ikmordo lkllott[), tcr, ~ nd bloc skies _ w""t down well "ith the I, o,'ed.n excell""t 1'''1',1 and e":'ntu.IIJ'l'aint,,1 English nobilitr doing the: Gr""d liJUr So well ~"<To ,, 'n,,1 he:.d 11 o,,::r Eu"'p'"

thot, ot One st'g.::, J<l(I(:ph Smith the IIritish Wor in Eur<1,e in 1740 <~srupt,,1 ~,"'ign {'(,"suI_in_""iting, w1 acting as his g.::nL trJ,eI nd it w time n, s.:t:k Out English

In time, (' analet'" rcr.n<:d his <JUq,ut to suit elients , home Fn"n 1746, Cana letto lin,1 in the marlet e,,::n b<~n:r His "'p"noi", grew tn London for 1mo't ten rears, working It:.r include populor Vcneti.n festi,.ls nd p"rons such the llonOl'eri"" Duke

""",m<)flies nd he "., willing tn I'" im n emi", of Richmond

series of ,.rouu (citr ,ie,,') in • uni~,nn ,iu:, n) AI".}"S the best ""snlln<:rS of CtllOlcttt), the furnish.nrstttt:lJ'h<M'H' sole of joscph Smith's entire {'(,lIecrion to

the "",""a d>"tIt'a (st" p.g.:: 198~" ,k:6nition the w<Hld' finest selccrinn of hi paintings

of this <bice), e;peci.II), ot sketchl)(lOk Sttg.:: .nd d",wings

B~ s in of St , \I, k 's Squ:.ore, Venice (tkuri!) (c 1745t )

1'b ,-inii thaI'" many Grand Touri", tT",'dkd '" '", and

buy _ <PI cam'a, / 1 "-a,"'" unhwl::"jir '" Ulh ,b.ir Canal",,,, 00'"' iNjir, ,b, paim bad drid

Parro End, Boy \\r,th ~ B",k", of Frui t (/ 59J.-4)

Th< boy ;;:00 !<JoE, ilJ jib could k oJJ",jng him,,'! 1lJ Ik ,.i""yr along ,;:irb Ib, frui" j,p=iblya "If - ponrait D"''''llggio , ;:ould bll'~ il«nllr()ilnd 21 pan if ilK'

b", ahaJy d,m"ID1I7l,d an ",rurll1l", in blllldling lb, ,,,,",",,,,/Ii#, and d!OOiJIJJ

J:TW~'n '" chi.m,cUfo

C"",-.ggiO'S <:arl)" cduC:I,ion in

Lomb'''ly g'lt: him I'.ssion for

r",,~sm and a <lis~kc of ideali",.;o", later in Rome hi: ""uld ,lisco,· th., thesc

were "','olu,ionary con""],,, The modds chu«:n r oo-,.,in's and ,ul" licants in his rdgious pictures were gt:nuine peosants with rlgs, wrilllJcs and <tiny fttL Not surprisingly, this

ul,,,,t , -tJ.:l<lo% I'"""ts and m"'"Il ' of the

public alile, who p",ferred the contri'Td elcganet: of ""n""rum to Ca,."-.ggio' <~Jwn·

to_crth ot LTl"1tion

C"'a,'aggio himself ,cry much admired

Midlel:"ngelo lIuona"ot; and I'aid h,""agt:

to him "" al times "Inc angcl's hands in 711,

''''pira,ion "f s, iIIanb""" p,inted for the Con",relli Chapel, recalls God', Cua,io" of Adam 'lfl the SiStine Chapc:l ceiling: and in S, Job" til< Baptirt ('"",b , ;:jtb Ram) , the lin)" I","es exactly lile Onc ()f the ig"udi, als() ()n the

Sisti nc cci ling

It al"C:lrS th.1t C'''''"1ggio' m<~h , 1 wos to

p,int directly f",m his modds, with no

p«l,"ato'-y drlwing This in ' ~C1n:s the ()f

T he Su pper 3 E mm~u s (d""i[! (1596_16()2)

711, gfflU,n in tbi, picn,u ,,/I "'" g"'" J.d 711, (JutJtT<trkd b"ndr a[tb, di,.ipl, on tb, rigbt, and lba" a[tb, iJlbff gripping bi, chair, "'P''''' Ik imm,dia" ,"oo,,'" " "'"grlili"", /lJ" Ib, MmllaT )'latb IINy '"" along tk

moo "'-,ait bi,""I[I" '" ch, ",,,,,, ud ebri" by hlming Ib, ,",al Tb, nil/ _

lift" frui, ,"ahI hibhllli "["m,,, '" un(Hd Ii[, and "pawi"", fiJfil/,J,

lenses ~s a « ::hnical aid Ilis p""'n, Car<linal Cou nte ,_ Refo,mation too, as thl:)" hoped

del ,\ loote, is kn"",'n to ha,'e had Some cxpenisc: that dramatic in, ger)' in their ch urches

with optics nd m.y h"'e 1"""id,,1 the eould he used to tempt people b,d fi-om

tist with "quil_"cnt th" would have dour I'rotes",ntism

pnJi<"(1ed the im.g.::s <lirttdy onto the c.",-.s, Car"-.ggio combined • ,hort, wild,

hcll,;ng to n:1""<lu,,, I.,ints of high Contr!St o",,-.sion.liy criminal lill: with an i"'n< ::I''-'Iic

and foresho<t"ning attibJd" Ilis in!lu",ce li,,,d on in the stu<lios of

By upholdi ng his uwn esthetic ,alues nd toc G""ilcschi family, l>1niruh rlr til t of toc

Hoiding nr cons"!.t"')' app",,,,,h to hi r"" bblr tal"'ted Anemi'; Gentileschi

in a new light The fn:sh immediacy of his sl'< ::ificalir with film_m"kcrS such 1'.",lini,

work suited the aims of the C.,holic J"m.nandBrtt"I,.,,,

/-I onm" Fiq"'"

Fatb di" I,aring

Still Life with POts and Fruit (1890 _ 94)

A rtlilly </ ,bap'_ """"'n, and roliJllr, all Injnnuly arranK't/, to iUusrTat' pnf«riy Cbnm',at " "'0111" 'Tua' naru" by In",'" "ftb, rylind<r; ,b,

;ph,,,_ ,b roll<', ".-uytbing brougbt into pr"fJ'T fJ'tTP'cti:~., ,dir«ud

ro"'anl, a em'Tal point '

P~UI Ch~nne ",os ~ shy, itri,~hle m~n ",ere n'Jt <j'ml",h",ic to his idul of'the logic~1

",ho, ~fter • di,,,,,uroging Start in tho: d""ciopmcn' uf e,'crphing ",e s{'(: and feci early 1860s - • ~"hidding father ,hr(JUb'" 'hc srudy ofn ure', It wa his delire

cX:lInin ion litilun: ~nd S,lon rct ,ls _ "'~rcdy ~"this essen,ial harmony e<pres.«:d h).-c( ~o ur

seemed dcstined for !.sting recognition, a< ,one ",hich drew him b,d '0 his bdn'''] Ace],im wa h:tnl ",On taking 0"" ,hirty ycars Pr",,,n\1' in 1 SS2, 'Inc ""Iusc who wished ~o

of disciplined "",l b c~,re his first one_m'n male uf Imp"'''';oni,,,, «,m",hing s"lid and exhihition in 1895: ~,llowing ",hich Y'JUnK"r duroble' e,'en,ually ",en' much further

artistS like the N.bis fon,,"] an enthusiastic I><o"iding the in~l<~u<~" Cubism Abstr.ction clique alert to Ceunne's pushing of ,he and 'he gamut of 'van'_ga"le ""pcrimcnt:ttion

C6.3 nlll: knew th thc thco.-ics of I'"i,ian 11<: <'0 nro" pu, 'wo t<lUches of col(JUr on n, 3

"".dm,ics and critics, Ic' Ioflc public ollinion COnyiS with(lU' its b<;ngab-cadr.n chieR,,,en,:

In the P l ofClt <-~u Noir (e.IS95 )

C'=<Inll<') IIlrIllTC"/,,,oftbi' riod """ roh'dly hllil' fum pla1Ut"f ,oJ(JlJr hut

'modulation' triM at.::"Y' C"'''''lI<''' k.p:.'<Kd arid b tri<Khd !",ub., </ rubt/, ,arm bUd rob.,-m,/y a/ongrid, rtrong.,- t""" if gr"" and hb~ for a ¥n"dy

naagi""", " r.,'(J(at"'n </ bi, "",it"< ,ou"'ry,id,

JEAN-BAPTISTE SIMEON CHARDIN

O"'"f ,b, pair (Ib< otb,r "'ar Lc Ruff<~) ,bal Chardin rllb"",,,d to ,b,

Prmcb Aallkmy , ; :bm Ninila; d, Lm-gillii-r< firrt di, ,,=d hi", am""g Illb Y"""g 1xJp'/uh at til< SRk", tk J'UlUn., Propk bad ""ITa}", tb

eant " ",,, 11K fik",irb niH lif" and tbry ,,"" romid.,.,d ~od ,_gil m go

flr.::ard "",",dimly ar Cban/i n ', dipJ","" pi""

C h."lin "1< the I.,." ( tcnt~tjou< of own I'",it hourgc< ~ s hou<ehold cn: his ~""'S

cighteenth_u:ntur), French I" interS nd m.de thcir " )'onn, the " lIs of wuhh),a" but iso/"ten cited, ",ith \\ ' , ,t , ~u , the Io,'crs all ",'cr Eu"'pe lie h.d n instin", f"." gre,,,,st La"" admirers of his ,1J1oc;;tic sttnes tdling the eu", ox'ment when look 'l< gC;;tun:

wen: Cou ,b.,t, \'~ n Go h nd Gun"" could he crrstolli ",d for posterit), 'I,gt:the,

There is no hint of Rococo IfJiet)' in ",ith th., gift, he h.d e,'ol,'ed • speci.1 Chardin's pictures, despite the emuhe"'nu: t"'hni,!"'" using thick br<TS of pigment "d sho",n hr othe, Htists of his dar such H thin, luminous gb",s to pmduu: JUSt tl>< right

'Ii, hegin ",ith, he p",duu:d ,~ill·lili::s of Ch"din's h.ndling of tonal nlue< "'e,,,

.nim.ls nd frui~ similar to the I"ir th., w,., imp r e~i"e enough, but the ,,·ritcr Dide,,,, him his pl.u: , the F,ench Aeademr Then < lIed him 'the g"'' ' so,ecrot" because his

"",,'" his g<onno pcri,.1 with" nod to the Dutch pictures offe",d So much more \ r,thout sch,.,1 but none o£the hcavr humour pre.ching 'J< !itlse sentiment, he tapS into • F<l< cight reus, the "",i,itic;; of Ch.nlin·s consciousne~ hcp",d out,,"'rd al""'''' ""c;;

The Young Artist (/718)

L'bardin', ,,"en 'OO, Pi"""-J,un, around tb, ug'"f Jrt'nl Draud in a bJt«

"",*ing apron, k i, picrurd ",itb a rrirhf ",bi" mall, in a Ixrltkr, rrudying a drlrdng in front ofbim , Pi~ J''''' did in flXt gr(l"", up to k an iUn'" and

/iring in I mi" ill 1 767 ,,·hm b, di,d in my,,"io'" ,"""""a_,

Tbarua/irio" of ebri" "'aT a major tb"", for Cimam" and br iT Iv/in"d to

hat"' p";""d tb mbj<cr ""<1""/ rim", Th< ""tbiJ, oftbi, gracifuJ /iK"'"' je

«h«d by tb, griif oftb moUYnn, in IN """de,", ,it},., rid., Sr '''''/y

d","agd by tb, AnIiJ jlood in 1966, tb <ruafir ba, rin« ,,"n r<IT(lHd

G ,op'mter and ' nm Cil1labuc mosa,clS' • I o,-"' cntme • frescoes that he and his Onl: of his p.-inci!,'] IlUl'~S worb is ,hI: s of l in' 1 for the

(".-crunncr of the Rcn ss.n<"t Tncrc church "fSt Francis., A«isi, b<~wccn I! 77 and arc h::w ",,,,.-(10<1 ,k:l:Iil of his lill:, lou, he did 1281: another is his al'''' mosaic in ]'i ,,.,,,,1 n) Rome in 1172, whcrc 1><~itjC:l.I.nd C.th<dr.Ldcl'ittingStJohnth<:Enngclistand religious "'~)nn , "l' in the ai, und", 'he new "JI1~,I",ed in 130Z \\'hil" "'maining litithfulto I><~":' (Oreg".-y X G"'g<"-y waS a ,mn of b rge ,ho: Hp.an,i"" rradition, Cimahue "mll',·"l to idea<.lle ealled fo'a Gent 1 G)uncil in Lp)f)s, gi,'e f,"'ms a new (limmsio." adnowl"lging which ,ur""d Ou' to be a high."-,,er marl of ,ho: ,pa", and di""n"'

,\li(1I1eAg.:s So 'he ma>ler 1''''<,1 the "-'y~" his I)H'"

There in R()me, Om.bue <lism,'( "l th., b"'OUS I'ul'il Giotto It is said th., they I)"" e,,::n the n;,1S w"'eeag.:,~ change ,\\urllislS ()f)e (by ()n the lk~()gna ,<x,d Gio"" was a were C>'1~( ing "-'}"S of bringing I))(,.-e ",.Iism sh<l,herd hoy SCM,ehing ,he I'icru", of a ,heel' inn) their wod The", "-.,, strung (bite to onto rock and, ,ttogniring his ,.Ien" mmC '''''y &om 'he ,n<li,ional n Iness of Cin,abue im"ed him nJ he",,))e his '1'I'I"<'n,i",

H}'untine n and Cim b"" >Y"'I",hiu:d in Flo ,"'

Th e Sant:.o Trinit:.o , \bdonn.:.o (dUO) Cimabu.', pionuring tk'ign J<Jfimd BFamin ",onlmunUlliry and ro",' ""ud

it to InOU artbly di",mrion<, Although til< foldT" ,b Virun)- cloal au "iO d'Ji",d ",itb !f1/d li"'I, tb d",P"7 bang' qui" n,,"'rally; "nd ,b fac~ bllt"

","cbanyd til< f"""ah'ly" iron< for a nro t::anmb " ,,:pm;rion

A typiCilI Gil/Ilk "apan ,-in.", ,;:irb ",/I ImildiTlgJ jlanking ,b, cum/""iri<m Imd 11gb, flooding lb, "'/xJ, """from" point jUS1 aM-' til<

bor"'on Thi, picmr< aim ilium-a," Ix1!:J d'P,b i, ",bin:.d by /ooJ:jnK

"'":lIrlV rb, ba=y bor;",,,, ,brougb a griN/1m1 fading of ,harp out/ill< arid

ttronge"'o",

Claude LHfain's chief c()fltribUl;'" nJ a'tlde's I'1tJUns g<:n"'ally came fmlll the

classical landscape I" inting ",."" his F,rnch or It.lian ariS"'<1'1q- II" I',in",d rJ.pidly m3S"'rly bTabllCnt of lighL Although fi-(." n<"C "<Sity, hut ne\(" ncglem:d thomugh not fi-Inllally educat"! Cb ude lnL· the sn",es 1"''1",otion thmugh d",wing, c'p<",.Dy fn,," that l1<o ided his themc, fi-(.11 m)'thology and nature Somet;mes he painted outdoors, to the Hil~e He ""uld adapt the s<~tings _ p ,,,,,.al """'n'c sunri", and ,un"'t at firSt hand

0, {'('''''al _ for an 0l"onunity to cxpk'it light and atmo"I"'c", (" perhaps "",,,,h n, a bro.d

hotlwn Hut alwaY', the b ,ic in'l,;tation ,,":IS thc Campagna, thc st"'tch of low-lying {'(,urn'}~id" around Rome, st"'pcd in antiquity

Tt«;' Claud<'scar~' """,her, If'''' him b.<ol\S

in l"'rSl"'<1;,'e and compo,ition, figurlS and aninnls aaude then p"'1:=<,-,1 to I"int ""'I"'ns and, fi-om around 16040, to lmnumental

Iand,a1"'s with tl''''"S wi ling through ",11 ""IS

Claude and Poussin dominoted thc

"""rneenth ",rnury in this genre and 'pawn"]

",any im;'"to In 1635, to k",l' ttad of his

O,,,].,t and guanlagain." ~,rgcrT ' Claudc began

,,,,,,,ding his {'(llllll1i«ions in a si<1chbook

called the Libra lffi'ati" the '1>:,<11 of truth' Financially SeCUre, hc 1,,1 a quiet life and

tuto,,,1 only two ,rudmts II is worls went on to in'pi,c gcn<nt;ons of artists, likc \\'~!tc~u,

\ ~Is"n , Turner and Cole: nO, should

A decade Ian.,., his ""rl b<"C>.llle stiD nx'", <,,;c: we ",'eriook his enduring inAocncc on

",ther ,.,itmn a 1 m}"''''tlous and I"in",d On eighteenth_ and nineteenth_century English large cam""" with a W(~cr 1"let"" landscapc If'<<k:ncN

Londsc:>fH' with the Nymph Egeri> (/669)

in mounlingfo, b<r tkad broband, fb, king of R om" 71","" if gri'f and

,"odularing}Tll" darlf '" light Tht! "",* <i<m"''' of a Claud, Iand=P' "'"'

unifi,d by a "'fi ligbt "r<aming """:anl, ,b, t'ir~ ,., , ;:1"", 'Y" au g"'t/y