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His father Francis was a doctor and laird of Finzean. Joseph was educated in Edinburgh and permitted by his father to paint only on Saturdays using his father's paint box. When Joseph reached the age of 12, Francis Farquharson bought his son his first paints and only a year later he exhibited his first painting at the Royal Scottish Academy. [2]
A Cart on the Snowy Road at Honfleur (French: La Charrette, route sous la neige à Honfleur) is an oil-on-canvas snowscape painting by French impressionist Claude Monet. The painting depicts a man on a wooden cart travelling along a snow-laden road in Honfleur. [2] A Cart on the Snowy Road at Honfleur is one of nearly 140 snowscapes painted by ...
Józef Chełmoński: Partridges in the snow, 1891 Richard von Drasche-Wartinberg: In Deep Winter. The depiction of winter landscapes in Western art begins in the 15th century, as does landscape painting in general. Wintry and snowy landscapes are very rarely seen in earlier European painting since most of the subjects were religious.
Snow at Argenteuil (French: Rue sous la neige, Argenteuil) is an oil-on-canvas landscape painting by the Impressionist artist Claude Monet. It is the largest of no fewer than eighteen works Monet painted of his home commune of Argenteuil while it was under a blanket of snow during the winter of 1874–1875. This painting—number 352 in ...
The Magpie (French: La Pie) is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's girlfriend Camille Doncieux and their newborn son, allowing Monet ...
Winter Landscape with Skaters is a c.1608 oil-on-oak painting by the Dutch artist Hendrick Avercamp in the collection of the Rijksmuseum in Amsterdam. [1] [2] This painting shows ice skaters of all sorts enjoying a day on a frozen river. People dressed up stand among villagers going about their daily chores.
The seascapes "reveal Westchiloff's evident skill at rendering water and the atmosphere of the New England coast and undoubtedly derive from the tradition of seascape painting that was an important part of Russian academic training in the nineteenth century, when the artist was a student." —
Old poplars under the fluffy snow caps in the bluish frost passed as the epitome of beauty and grandeur of Russian nature. In the picture, perhaps for the first time so clearly and convincingly demonstrated new qualities in the artist's landscape painting – monumental imagery solutions, which arose after a trip a year earlier in the Urals ...
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