Sentences with phrase «air painting school»

Not exact matches

Through Crescents efforts, old shower facilities near the schools gym were converted to lounges for parents and teachers, complete with air conditioning, carpeting, and fresh paint.

In newer school buildings the trend towards tightly sealed construction design — to reduce noise for example — plus the use of certain synthetic building materials, toxic paints and varnishes, and items of furniture and carpets that off - gas chemicals such as formaldehyde, all contribute to indoor air pollution.

The engine bay is home to a new, painted - to - match GM Performance 350ci Ram Jet engine hooked up to a Tremec 5 - speed manual transmission with a Vintage Air unit added along with polished old - school Chevrolet valve covers and a Zoops serpentine belt system to dress it up.

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In Le Havre, on the North Coast of France during the late 1850's the then teenage Claude Monet who had become adept as a political caricaturist began developing the art of plein air landscape painting (under the tutelage of Eugéne Boudin) perhaps as a response to and a logical outgrowth of the then popular Barbizon School.

Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.

The historical dimension of the «Five and Forward» installation is irresistibly lovely, keyed to that sweet spot of American Impressionism so deftly relayed to the canvas in such gems now on view as seven paintings by William Merritt Chase, who founded his plein air art school in Southampton in 1891.

The first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors (en plein air).

Upon Katz's graduation from The Cooper Union in 1949, he began studying at the Skowhegan School for Painting and Sculpture in Maine, where he was exposed to painting en plPainting and Sculpture in Maine, where he was exposed to painting en plpainting en plein air.

Nevertheless, there is an unmistakable and driving sense of kinetic movement and energy within all her works, especially the pointillism of her «arrow» paintings that depict schools of tiny arrows massing and converging like small fish or unseen air currents.

Having exhibited extensively internationally, his solo shows and projects include Ulysses, Marfa Contemporary, Texas (2014); Colour / Temperature, Hanes Gallery, Wake Forest University, Winston - Salem, NC (2014); Spencer Finch: Yellow, Montclair Art Museum, Montclair, NJ (2014); A Certain Slant of Light, The Morgan Library & Museum, New York (2014); The Skies can't keep their secret, Turner Contemporary, Margate, UK (2014); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago (2011); Rome, Museum of Contemporary Art San Diego, La Jolla, CA (2011); Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, DC (2010); Evening Star, Pallant House, Chichester, UK (2010); Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009).

Lauren teaches workshops and weekly classes in New Jersey, and paints en plein air using the prismatic palette, which has its origins in the French Barbizon School.

An objective interest in what is seen, can be discerned from the paintings of John Constable, J M W Turner, Camille Corot and from them to the Impressionists who continued the plein air painting of the Barbizon school.

Each of these painters interpreted the Matunuck landscape in a personal way, yet among them they encompass most of the major trends defining American painting of the late nineteenth and early twentieth centuries — the Barbizon School, Impressionism, Post-Impressionism, Tonalism and plein - air painting — as well as the creation of the era's predominant artistic institution: a summer sSchool, Impressionism, Post-Impressionism, Tonalism and plein - air painting — as well as the creation of the era's predominant artistic institution: a summer schoolschool.

He studied for two years at the California School of Fine Arts (now the San Francisco Art Institute), and painted plein air cityscapes while earning a living as a Skid Row social worker.

He has had extensive international solo exhibitions and projects including A Certain Slant of Light, The Morgan Library & Museum, New York, NY, The Skies can't keep their secret, Turner Contemporary, Margate, UK (2014); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago, Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, D.C., Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009).

However, it was his summers (1949 - 50) at the Skowhegan School of Painting and Sculpture in Maine, whose teachers emphasized plein air painting and working from life, that were a transformative experience for the young artist, giving him, as he has stated, «a reason to devote my life to paintingPainting and Sculpture in Maine, whose teachers emphasized plein air painting and working from life, that were a transformative experience for the young artist, giving him, as he has stated, «a reason to devote my life to paintingpainting and working from life, that were a transformative experience for the young artist, giving him, as he has stated, «a reason to devote my life to paintingpainting.»

As such, P - Town is a major hub for plein air painting, dating all the way back to the days of artist Charles Webster Hawthorne, who opened the Cape Cod School of Art in 1899.

Led by Stanhope Forbes, Frank Bramley and Norman Garstin the Newlyn School was inspired by the naturalist plein - air painting tradition of the French Barbizon School and aimed to reproduce the realities of country life.

Finch's talk at the New School will focus on the artist's various public and large - scale installations like A Certain Slant of Light (2014 - 15), a site - specific installation at the Morgan Library inspired by its collection of medieval Books of Hours; Trying to Remember the Color of the Sky on That September Morning (2014), a commission for the National September 11 Memorialand Museum composed of 2,983 individual watercolors representing the artist's recollection of the sky on September 11, 2001; Painting Air (2012), an installation of more than 100 panels of suspended glass inspired by the colors of Claude Monet's garden at Giverny; and The River That Flows Both Ways (2009), a permanent installation on New York's High Line featuring an existing series of windows which Finch transformed with 700 individual panes of glass representing the water conditions on the Hudson River over 700 minutes in a single day.

In fact, Katz, whose parents were of Russian origin, and who grew up in Queen's, emerged in 1950 from art school where he had produced detailed drawings of classical sculpture and painted from life, into a hysterical New York where the new heroes of abstract expression, Jackson Pollock and Barnet Newman, were throwing everything up in the air and riding a wave of popularity.

Nature was an important subject for Romantics, and the style is exemplified, by the English School of Landscape Painting, the plein air painting of John Constable (1776 - 1837), Corot (1796 - 1875) along with members of the French Barbizon School and the American Hudson River School of landscape painting, as well as the more expressionistic JMW Turner (1775 Painting, the plein air painting of John Constable (1776 - 1837), Corot (1796 - 1875) along with members of the French Barbizon School and the American Hudson River School of landscape painting, as well as the more expressionistic JMW Turner (1775 painting of John Constable (1776 - 1837), Corot (1796 - 1875) along with members of the French Barbizon School and the American Hudson River School of landscape painting, as well as the more expressionistic JMW Turner (1775 painting, as well as the more expressionistic JMW Turner (1775 - 1851).

1983 Presence Descrete, Musee des Beaux - Arts de Dijon, Dijon, FR Radio by Artists, Walter Phillips Gallery, The Banff Centre School of Fine Arts, Banff, CA In Other Words: Artists Use of Language - Part 2, Franklin Furnace, FR The Chinese Chance, an American Collection, The Butler Institute of American Art, Youngstown, Ohio, US Projects and Performances, Islip Art Museum, Islip, New York, US Live to Air, Franklin Furnace, New York, US Halle für Neue Kunst, Schaffhausen, CH The Rainer Speck Collection, Museum Haus Lange und Museum Haus Esters, Krefeld, DE Sculpture, Leo Castelli Gallery, New York, US Summer Show from the Collection, Van Abbemuseum, Eindhoven, NL Collection of the Museum Van Hedendaagse Kunst, Gent, Belgium, Musee d'Art Contemporain, Montreal, CA Projetto Genazzano, La Zattera di Babele, Genazzano, IT Conceptual, Rhonda Hoffman Gallery, Chicago, Illinois, US When Words Become Works, Minneapolis College of Art and Design, Minneapolis, Minnesota, US Masterworks of Conceptual Art, Paul Maenz, Cologne, DE Language, Drama, Source and Vision, The New Museum of Contemporary Art, New York, US ARS 83, The Art Museum of Ateneum, Helsinki, FI Word Works, Walker Art Center, Minneapolis, Minnesota, US Between Words and Things, Clare College, Cambridge, UK Festival d'Automne a Paris, Paris, FR The First Show: Painting and Sculpture from 8 Collections 1940 - 1980, The Museum of Contemporary Art, Los Angeles, California, US Hundreds of Drawings, Benefit Exhibition and Sale, Artists» Space, New York, US December Exhibition, Anthony d'Offay Gallery, London, UK American Video, Arts Council of Great Britain, London, UK There But For, screening Infermental II (video magazine), Hamburg, DE

They included: the Irish - born George Frederick Folingsby (1828 — 91), who arrived in Australia in 1879 and became Master of the School of Painting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 &mdashPainting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 &mdashpainting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 &mdashPainting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 — 1932).

Recent solo exhibitions and commissions include: Following Nature, Indianapolis Museum of Art, Indianapolis, IN (2013); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago, Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, DC, Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009).

Working in oils on panels and canvas, Mooney frequently paints in the tradition of the plein - air or outdoor Barbizon landscape school and / or Impressionism, capturing landscapes in a variety of locations in Ireland and overseas.

Most Hudson River School paintings were based on plein - air drawings that were later worked up in the artist's studio, and - while they included some details of actual places - usually consisted of composite scenes taken from a number of real and imaginary locations.

Derived from the plein air painting traditions of the Barbizon school of landscape painting, Impressionism in France encompassed many famous painters and many individual styles, and its paintings ranged across all genres, from landscape and still life to portraiture and genre scenes.

NOTE: Despite the dominant reputation of 19th century French landscape painting, as exemplified by the Barbizon School, it is worth remembering that the English painters John Constable (1776 - 1837), JMW Turner (1775 - 1851), and Richard Parkes Bonington (1802 - 28) exerted a major influence over Barbizon and other plein - air painters.

In Melbourne Australia, plein air landscape painting was the speciality of the Heidelberg School of Australian Impressionism, led by Tom Roberts, whose other leading members included Arthur Streeton (1867 - 1943), Walter Withers (1854 - 1914), Charles Conder (1868 - 1909) and Fred McCubbin (1855 - 1917).

Inspired by pioneers like John Constable (1776 - 1837) and Richard Parkes Bonington (1802 - 28) from the school of English landscape painting, as well as Theodore Rousseau (1812 - 67) and Jean - Francois Millet (1814 - 75), and initially linked with the Naturalist and Realist movements, which were themselves a reaction to the social changes caused by the Industrial Revolution, the principles of plein - air art later formed the core of Impressionism - specifically Impressionist landscape painting - as practised by Monet (1840 - 1926) during the last 30 years of the century.

The Barbizon School (c.1830 - 1875) Arguably the most influential of all naturalist groups, the French Barbizon School of landscape painting inspired artists across Europe, America and Australia with its spontaneous plein - air compositions.

Plein - air landscape painting was greatly developed at the Barbizon School, at Fontainebleau near Paris, under Theodore Rousseau and the Romantic Camille Corot.

• Biography • Early Interest in Landscape Painting • John Trumbell, William Dunlap, Asher B Durand • Plein - air Painting in the Hudson Valley • Moves From Pure Landscape to Historical Themes • Style of Painting • Paintings by Thomas Cole • The Hudson River School • American Colonial Art (c.1670 - 1800)

Influenced by Turner as well as the Barbizon School of landscape painting, Streeton was also strongly drawn to the loose brushwork and light - focused approach of French Impressionism, as well as its focus on plein air painting directly from nature.

Barbizon School of Landscape painting Group of French landscape painters of the mid 19th century, who painted landscape for its own sake, often in plein - air, directly from nature.

Inspired by the flat East Anglian landscape with its big skies, Norfolk Broads and rivers, and by 17th century Dutch Realist painters such as Meindert Hobbema (1638 - 1709) and Jacob van Ruisdael (1628 - 82), Norwich School artists included amateurs as well as professionals, many of whom practised the avant - garde method of plein air painting.

The Norwich School's unique achievement was the production of a large body of landscape oils and watercolours, painted largely in the open air by a comparatively small group of self - taught working - class artists.

«In high school, when my painting class took a field trip to do plein air landscape painting, I painted a picture of my legs instead.

She was born in a Air Force base in Minot N. D. and lived in Bitburg, Germany, San Antonio and Dallas, TX where she attended Creative Arts Magnet High school, then received a BFA in Art History, studied painting and drawing at University of North Texas, relocated to New York and received an MFA in Combined Media from Hunter College, City University of New York.

The show traced the development from roughly 1780 to 1840 of the first European school of open - air landscape painting, which was centered around Rome.

Barbizon School of Landscape Painting Plein Air Painting Movement: History, Characteristics.

Famous schools of plein air painting include: the Barbizon School (1830 - 75); French Impressionism (1873 - 85); the Heidelberg School of Australian Impressionism (1886 - 1900); and the Russian Wanderers (Itinerants)(c.1865 - 1900).

The early years of the 19th century witnessed the Golden Age of English landscape painting, led by Turner and Constable, and also the development of plein - air techniques by the Barbizon school, and later by Monet's style of French Impressionism - methods greatly facilitated by the invention of portable collapsible tin paint tubes in 1841, by American painter John Rand.

1956 Society of Sculptors and Associates, David Jones Gallery, Sydney, AU The Seasons (organised by the Contemporary Art Society), Tate Gallery, London, UK Artists of Fame and of Promise, presented by the Leicester Galleries, Brown Thomas Little Theatre, Dublin, IE Britisk Kunst 1900 — 1955, Kunstforening, Copenhagen, DK British Nátidskunst, Kunstnernes Hus, Oslo, NO Exposition Internationale de Sculpture Contemporaine, Musée Rodin, Paris, FR An Exhibition of Contemporary British Art, Silbermann Galleries, New York, US Mostra dei Premiati alla XXVIII Biennale, Messina, IT Yngre Britiska Skulptörer, Gothenburg, SE; Sandviken, SE; Linköping, SE; Tranås, SE; Lund, SE; Hälsingborg, SE; Halmstad, SE; Falkenberg, SE; Orebro, SE; Stockholm, SE 1955 Young British Sculptors (touring exhibition organised by the Arts Club of Chicago in collaborationwith the British Council), Arts Club of Chicago, Chicago, US; Walker Art Center, Minneapolis, Minnesota, US; Contemporary Arts Center, Cincinnati, Ohio, US; Albright Art Gallery, Buffalo, New York, US; Art Gallery of Toronto, CA The New Decade: 22 European Painters and Sculptors, Museum of Modern Art, New York, US; Minneapolis Institute of Arts, Minnesota, US; Los Angeles County Museum, California, US; San Francisco Museum of Art, California, US Summer Exhibition, Gimpel Fils, London, UK Eisenplastik, Kunsthalle, Bern, CH Documenta: Kunst des XX., Jahrhunderts, Kassel, DE Twentieth Century Sculpture (Victoria and Albert Museum Circulation Department), Harrogate Art Gallery, UK 54th London Group, Whitechapel Art Gallery, London, UK Contemporary Painters, Sculptors and Craftsmen, City Art Gallery, Leeds, UK Junge Englische Bildhauer (organised in association with the British Council), Kunstverein, Munich, DE; Württembergische Staatsgalerie, Stuttgart, DE; Kunstverein, Freiburg, DE; Staatliche Kunsthalle, Karlsruhe, DE, Städtische Kunsthalle, Recklinghausen, DE; Kunstsammlungen der Stadt, Düsseldorf, DE; Kunstlering, Rotterdam, NL 1954 Sculpture in the Open Air (London County Council Third International Exhibition), Holland Park, London, UK Of Light and Colour, Gimpel Fils, London, UK British Painting & Sculpture, Whitechapel Art Gallery, London, UK 53rd London Group, New Burlington Galleries, London, UK 1953 The Unknown Political Prisoner (sponsored by the Institute of Contemporary arts), Tate Gallery, London, UK IXe Salon de Mai, Palais de New York, Paris, FR Sculpture in the Home (Arts Council touring exhibition), College of Art, Gloucester, UK; Cotton Board, Manchester, UK; Temple Newsam House, Leeds, UK; County Museum, Warwick, UK; School of Art, Glasgow, UK; Art Gallery, Aberdeen, UK; School of Art, Great Yarmouth, UK; Laing Art Gallery, Newcastle, UK; New Burlington Galleries, London, UK 2e Biennale de la Sculpture, Middelheim Park, Antwerp, BE Collectors» Choice, Gimpel Fils, London, UK 52nd London Group, New Burlington Galleries, London, UK 1952 Seven British Contemporary Artists, Black Hall, Oxford, UK New Aspects of British Sculpture, XXVI Biennale, Venice, IT Summer Exhibition, Gimpel Fils, London, UK 51st London Group, New Burlington Galleries, London, UK 1951 American Abstract Artists Group, 15th Anniversary Invitation Exhibition, Riverside Gallery, New York, US Festival of Britain, South Bank, London, UK Sculpture: Second International Exhibition of Sculpture (organised by the London County Council in association with the Arts Council), Battersea Park, London, UK British Abstract Art, Gimpel Fils, London, UK 50th London Group, New Burlington Galleries, UK 1949 Summer Exhibition, Gimpel Fils, London, UK 48th London Group, New Burlington Galleries, UK Galerie de France, Paris, FR

He was the best art teacher of his generation, and the director of the Shinnecock Hills Summer School on Long Island, the first school to offer classes in plein air painting - that is, outdoor landscape paiSchool on Long Island, the first school to offer classes in plein air painting - that is, outdoor landscape paischool to offer classes in plein air painting - that is, outdoor landscape painting.

SPENCER FINCH Painting Air 2012 Glass, hardware, wall painting Dimensions variable Installation at the Rhode Island School of Design Museum of Art, Providence, RI Based on Claude Monet's pond at Painting Air 2012 Glass, hardware, wall painting Dimensions variable Installation at the Rhode Island School of Design Museum of Art, Providence, RI Based on Claude Monet's pond at painting Dimensions variable Installation at the Rhode Island School of Design Museum of Art, Providence, RI Based on Claude Monet's pond at Giverny.

Theodore Rousseau Leader of Barbizon School of Plein - Air Landscape Painting.

Spencer Finch (born 1962, New Haven, Connecticut) has had extensive international solo exhibitions and projects including A Certain Slant of Light, The Morgan Library & Museum, New York, NY, The Skies can't keep their secret, Turner Contemporary, Margate, UK (2014); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago; Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, DC, Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009).

Other leading members of this plein air painting movement included members of the school of English landscape painting, such as John Constable (1776 - 1837) and Richard Parkes Bonington (1802 - 28), as well as French painters like Theodore Rousseau (1812 - 67), Camille Corot (1796 - 1875), Narcisse Diaz de la Pena (1808 - 1876), Charles - Francois Daubigny (1817 - 1878), Jules Dupre (1811 - 1889), Joseph Harpignies (1819 - 1916), Constant Troyon (1810 - 1865), Charles - Emile Jacque (1813 - 1894), Antoine - Louis Barye (1796 - 1875), Albert Charpin, Felix Ziem and Alexandre De Faux.