All posts by Rosie Lesso

Dazzling turquoise blues like that of CERAMIC Linen sparkle across Armand Guillaumin’s canvases, lending them the sparkling vibrancy of the French countryside. A leading Impressionist painter in nineteenth-century France, Guillaumin is world-renowned for his luminous colours which capture the glistening light of his native France, from the rural scenery around Paris to the dappled Creuse…

Cold, sharp, and fresh, the pale green tinge of SEA BREEZE Linen billowed and danced through Mary Cassatt’s brightly lit scenes, forming zesty ribbons of dazzling brilliance. As one of only a handful of women associated with the French Impressionist movement Cassatt’s vision was devoted to the female realm; she silently observed the women of…

Blushing crimson reds like that of Tawny Port Linen pulsate across Dorothea Tanning’s fantastical paintings, lending them the passionate turbulence of erotic dreams and nightmares. One of only a handful of female Surrealists to find success in mid-20th century Europe and America, Tanning conjured up brilliantly bizarre scenarios where strange creatures inhabit curious realms beyond…

NINE IRON linen’s steely, dramatic grey with just a hint of crimson became great swathes of deep shadow in the hands of the painter Thomas Cole, sweeping across America’s epic mountain ranges and forming wild, turbulent skies laden with thunderstorms. His momentous landscapes are a celebration of America’s sublime wilderness during the mid-19th century, before…

Dark, brooding and dramatic, the intense blue of COBALT linen was ideal for Renaissance painter Jacopo Vignali’s heightened, operatic scenes. A leading painter in the Florentine seicento, Vignali’s Baroque paintings were defined by flowing swathes of jewel-toned fabric in midnight blues and crimson reds; set amidst theatrical, directional light, these richly toned colours amplify the…

The creamy tone of ANTIQUE WHITE Linen glistened across the great Realist painter Gustave Courbet’s canvases, investing them with the sparkling vibrancy of the French coast. Courbet’s trademark palette was warm beige, sandy or golden tones, applied with a knife to the canvas in thick slabs as rich and heady as buttercream. These streaks came…

Dusk was James Abbot McNeill Whistler’s favourite time of day, when cool temperatures and dwindling light turned colours into an ambiguous, enigmatic haze. Nuanced shades of blue and green like that of TURQUOISE Linen allowed him to convey this bracing evening light as it stretched across misty skies and open expanses of freezing water, merging…