Drawbridge with carriage

Vincent Van Gogh
54 x 65cm
Oil on Canvas

With his colour experiment, object in his painting such as the peaceful motif's scene, sky and water and several objects were painted under tension. The colour that was created on the scenery that was merely provided by the motif seems stretched like a second skin.

Capo di noli, near genoa

Paul Signac

91.5 x 73cm

Oil on canvas

Paul claims that the reason why he painted this painting was because he finds that the technique used in this painting seems to be the best way in obtaining the harmonious, full of lighting and most luminous coloured feeling.

Palau Triptych

Max Pechstein

119 x 353 cm

Central panel 119 x 171cm, Wings 119 x 91cm each

Oil on canvas

Viewing the world from the individual artists’ perspective, the expressionists adopted the individual modernised aesthetical creativity. Coloured by Max’s realistic attitude, he portrayed the trembling piety and their submission to an unavoidable fate. 

The River Seine at Chatou

Maurice de Vlaminck 

50.2 x 65.1cm

Oil on canvas 

When Vlaminck were looking at nature, he ignored the details of the landscape, looking for excuses to use his style of violent colour and brushwork to express his mood. With “The River Seine at Chatou”, Vlaminck’s thought of breaking with figural art was suggested through his positioning of boats, houses and tree coming above the lower half of the tapestry of abstract.

Pharisees

Karl Schmidt-Rottluff

75.9 x 102.9 cm

Oil on canvas

Karl’s attempt at a form of overloaded controlled sensory was seen through the use of totally vivid and primary colours used in Pharisees.

The Artist's Garden at Saint-Clair

Henri-Edmond Delacroix

26.6 x 35.8 cm

Watercolor on paper

Using saturated colours in vivid paletterm it turend to be a pure landscape painted in watercolour and oil. Henri used the Neo-impressionist painting technique such as using long, decorative blocky brushstrokes and mosaic-like pattern.

School House

Gabriele Munter

40.6 x 32.7cm

Oil on cardboard

Internal nuances, colourful brushstrokes, shading or modelling was hardly included in the colours fields. This painting hence contributed to the equilibrium and depicted the detail’s harmony.