Almost Abstract

Jervis McEntee and Walter Shirlaw, Storm Clouds

Frederick Edwin Church

Great Basin, Mt Katahdin, Maine.

Church has used complementary opposite colors (yellow/violet) for vibrancy, adding yellow to the green lower slopes, and adding subtle hints of violet in the shadows of the cliffs above.

Subtle Brushwork

François Biard, Magdalena-Bay, vue prise de la presqu'île des tombeaux, au nord du Spitzberg; effet d'aurore boréale. Louvre Museum.

Source: art inconnu

James David Smillie - American 1833-1909

The color white is often underused by landscape painters, except mixed with other colors. In this piece (and in the examples in the previous few posts) white is used to make a dramatic contrast to shadows and dark foliage.

Conveying an impression of Vastness

Chuck Forsman, Descent

Jakob Philipp Hackert (1737–1807)

L-shaped composition

Klimt was a master of composing in a square format. He probably favoured the square because it tends to bring out the abstract or architectural qualities of a scene. Though the shapes in this L-shaped composition are quite minimalist, he fills them with interesting textures, applied randomly, but the eye is tricked into seeing fine, realistic detail.