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“In 1886 the critic Fénéon defined Cross’s style in the following words: “a light palette, objects, beings indicated with flat colours, light brushwork, a pretty fantasy.” These flat, toned-down colours (mixed with white) are here displayed above all in the traditional bonnets and in the bodies of the women bent over in the sun. In contrast, the pink stippling in the dark green mass of the tree is already a response to Divisionism, in an effort to render the glints of the complementary colour that appear on a coloured surface. The painting was shown at the Salon des Indépendants in March 1891 as was the first work (a portrait of his future wife) in which Cross used rigorous neo-Impressionist techniques.”

READ FULL ESSAY: Carmen Thyssen Collection

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Henri-Edmond Cross at wikiwand

Henri-Edmond…

Hat Tip

Many thanks to Claudio Capriolo at la regina gioiosa for introducing me to this performance in the post Op. 8 n.8.

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CHU TEH-CHUN at Christie’s

CHU TEH-CHUN at Sotheby’s

CHU TEH-CHUN at Bonham’s

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CHU TEH-CHUN at wikiwand

10 things to know about poet painter Chu Teh-Chun

Chu Teh chun: The Man Behind the Legendary Painter

Chu Teh-Chun in Three Works: Symphonic, Calligraphic, Lyrical

Thanks…

I sketched the wonderful Woodbridge Tide Mill earlier this month.

The boats in the foreground are “Oystercatcher” on the left, and “Isla” on the right.

The Tide Mill was working when I visited. Huge wheels turned powerfully as water poured down from the Mill Pond. The water drives a millstone which grinds flour. There is also a tide-operated mobile phone charger in the mill!

This picture took me about an hour, drawn and coloured on location.

Here are some maps so you can find the Tide Mill. It’s a short walk from the railway station.

“In 1912, Pierre Bonnard bought a country house called Ma Roulotte (“My Caravan”) at Vernonnet, a small town on the Seine. This painting shows the dining room there, with cats perching on the chairs and Marthe de Méligny, the artist’s wife, leaning on the windowsill. Bonnard, who considered himself “the last of the Impressionists,” emphasized the expressive qualities of bright colors and loose brushstrokes in this picture. He united the interior with the exterior through the open window and door, and linked the forms by bathing them in related hues. Unlike the Impressionists, however, Bonnard painted entirely from memory. And like the Symbolists, he wanted his works to reflect his subjective response to the subject.”

Minneapolis Institute of Art

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Les Nabis on Wikiwand

Pierre Bonnard…