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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.
The Italian painter reduced his world and his subjects to a series of careful arrangements – the stillest of still lives.
A 14th-century hunting manual offers a vision of the ideal relationship between man and nature.
Jacques-Louis David painted his only landscape as the guillotine loomed over him.
How Atkins’s striking cyanotypes found wonders in the minutiae of the natural world.
The young artist’s nights of dissipation were at odds with the sunny fecundity of his landscapes.
How Hubert Robert assembled new worlds with the tumbled remains of the classical past.
How the Flemish painter was the first to make landscape the real subject of his art.
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.