Steen foege

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

JEFFREY PRATT’S PAINTINGS ARE BORNE OF TIME AND PATIENCE. He mixes “massive heaps of primary colours softened down to the point where they ‘run off’ a tilted palette,” as a way of capturing how it fee

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

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