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Michael Prodger is associate editor at the New Statesman. He is an art historian, Senior Research Fellow at the University of Buckingham, and a former literary editor.
Despite his immense success as an illustrator of children’s classics, the artist longed for respect as a painter.
The artist’s output was vanishingly small, but extremely carefully composed.
Alongside the watercolourist Thomas Girtin, Bonington was the lost boy of English romantic art.
Corinth’s Walchensee paintings proved popular with collectors – but they came at a cost.
For the Italian painter, the countryside was a realm of diversion and delight.
In her quest to reveal the divine in nature, the Norwegian painter stripped back the landscape to its essential forms.
Volaire witnessed most of the major volcanic events of the second half of the 18th century and, in his paintings, he made Vesuvius his own.
It was tapestry, not landscape painting, that first brought the outdoors indoors.
In the world of Atkinson Grimshaw it is always autumn or winter, always evening, and the rain has just passed through.
A refugee displaced by the First World War, de Saedeleer found both home and inspiration in the valleys of Aberystwyth.