Sunday, June 8, 2014

Paintings Of Camille Pissarro And Jan Van Eyck

By Darren Hartley


Camille Pissarro paintings consider light and movement to be as important as the paintings themselves. Camille was a French member of the Impressionist group, less well known than Monet and Degas, but almost regarded to be the father figure of the group.

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.

Jan Van Eyck paintings included the Arnolfini Marriage Portrait. This panel painting was famed for being one of the first panels to be executed in oil rather than in the standard tempura, which was the popular medium of the period.

Jan Van Eyck paintings widely tested the possibilities of oil painting. One layer of paint was not left to dry before the next layer is applied. The most famous work of Jan is the retable for the St. Bavo's Cathedral in Ghent. Consisting of 20 panels, its central piece was The Adoration of the Lamb of God. This work was widely considered to be one of the highlights of the Northern Renaissance movement.




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