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Camille Pissarro Paintings And Jan Van Eyck Paintings

By Darren Hartley


Light and movement were considered in Camille Pissarro paintings to be as important in comparison to the paintings themselves. Camille painted with other Impressionists at different times in his lifetime. He was a constant supporter of any Impressionist activity. He has the distinction of working closely with Cezanne.

The accurate recording of the sensations one experiences from nature observation was the objective of radical Camille Pissarro paintings. The oil paintings of Camille recorded Sydenham and the Norwoods at the time they were just recently connected by railways, but prior to the suburban expansion.

In 1892, Camille Pissarro paintings were done in Kew Gardens and Kew Green in England. In 1897, Camille produced several more oil paintings of Bedford Park, Chiswick. More mature Camille Pissarro paintings display an empathy for peasants and labourers, with evidences of Camille's radical political leanings.

Jan Van Eyck paintings showed mastery in the technique of oil painting, so much so, that Jan Van Eyck was often mistaken to be the inventor of oil painting. Of course, this is farthest from the truth since painting with oil dates back as far as the Indian and Chinese painters of the 5th century.

Jan Van Eyck paintings included the Arnolfini Marriage Portrait. This panel painting was famed for being one of the first panels to be executed in oil rather than in the standard tempura, which was the popular medium of the period.

Jan Van Eyck paintings widely tested the possibilities of oil painting. One layer of paint was not left to dry before the next layer is applied. The most famous work of Jan is the retable for the St. Bavo's Cathedral in Ghent. Consisting of 20 panels, its central piece was The Adoration of the Lamb of God. This work was widely considered to be one of the highlights of the Northern Renaissance movement.




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