Jeffrey pratt

Unlike the shelter of a studio -where the light is steady, the wind absent, and the kettle within reach - there is no such control outdoors. Instead, it offers participation: you don’t simply observe

Unlike the shelter of a studio -where the light is steady, the wind absent, and the kettle within reach - there is no such control outdoors. Instead, it offers participation: you don’t simply observe

THERE IS A MOMENT IN ONE OF STEEN FOEGE’S PAINTINGS when the landscape seems to shift. A horizon line slips; a wash of pink moves through the sky, and what begins as something recognisable – a mountai

Hedgerows once seemed a jumble to David Hockney, but a slow drive along a country lane helped him see with greater clarity and embrace ‘the infinite variety of Nature’. Martin Gayford considers the artist’s affinity for landscape

Years ago, my eyes were opened to the economy and power of watercolour when I saw ‘View from Monte Mario of the River Tiber’ by Claude Lorrain in the British Museum. You can still relive the energy an

Years ago, my eyes were opened to the economy and power of watercolour when I saw ‘View from Monte Mario of the River Tiber’ by Claude Lorrain in the British Museum. You can still relive the energy an