Karl von Eckenbrecher

The Auguste Victoria in the Naerofjord (detail) 1900

The strip of white water next to the dark hull of the ship creates a strong tonal contrast which draws the eye to a focal point. The lines in the slopes also lead the eye to this centre of interest.

Carl Gustav Carus

Mountain Scene, Montblanc Group, 1824

The equilateral triangle formed by the valley gives this work a strong sense of design which could otherwise have been overwhelmed by detail. Symmetry gives a sense of calm, even sacredness.

Louis Remy Mignot - American 1831-1870

Niagara

The power of this image lies in the absence of superfluous elements. There are no overhanging trees framing the view, no human figures or structures; nothing to distract from the subject - water.

John F Carlson - American 1874-1947

February Gaiety, 25 x 30 inches

Colour must be added with great sensitivity to a work that is basically a monochrome image of whites, greys and blacks. A strong colour would be deafening in such a still scene.

Auguste-Francois Bonheur - French 1824-1884

Mountains with Mist

Lin Onus - Australian

Frogs on Waterlilies, Acrylic, 90 x 122 cm

This work has an almost 'heraldic' impact - large scale, simplified design, strong colour contrasts; almost like a flag, a star-spangled banner. Then, looking more closely, there are subtleties too - reflections of clouds, undulations on the lily pads.

Shyamal Dutta Ray

Gozzoli

Elihu Vedder - American

Near Perugia, 1870, oil on board,

8.5 x 13.25 inches

Elmer Wachtel - American

Valley View, 18 x 30 inches

Jill Kempson

Oil on marine plywood.

An Australian artist, Jill Kempson mentions on her website that she went to Europe to research old master techniques. She works on plywood. The disadvantage of large sheets of board, compared to canvas, is substantial weight, but some artists prefer a smooth surface to work on.