Sketchbook of Townscape Drawings

Living in the countryside I had to drive to a local town to do this. I ended up sitting in my car drawing as it was raining on and off it was quite overcast and pretty dull. This was very challenging and I felt quite frustrated and a little despondent that I found it so difficult.

The first attempt was of a local hotel which had a lot of people coming in and out, cars pulling up and blocking my view, so it was very distracting.

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It seems I am having problems drawing straight lines, maybe because I am not sitting straight or on a bit of an angle without realising. I don’t like the result, it seems quite basic and not very well drawn.

The second drawing was of some houses next door so the perspective was slightly different. Again it was raining and overcast.


row of houses

This was not very successful either! As the rain came in heavier, I drove around looking for some inspiration. I wasn’t able to find a parking space in the centre of town and, as the rain was not helping matters, I decided to come back when my mood, and the weather, was a little brighter.

Once home I found a photo online to work from, it shows the river running under the bridge but it turned out to be very difficult to capture.

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On a different day I decided to go back even though the rain was heavier but I walked around looking for interesting shots to photograph so I could work on this exercise some more. The weather has really hindered my progress this summer and I knew I had to move things along! I got drenched but at least I had something to work from.

This is a tourist town so it has its well known spots but something that caught appealed to me was an insignificant part of town. It was down an alleyway, nobody else was around, it looks quite scruffy compared to the rest of the town but there were some interesting lines that caught my eye.

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Even though this is a basic sketch, I really liked the way the buildings came together with the path curving around and the alleyway going under the arch.

Another composition I liked was the view of a house and church just beyond the bridge and the river. Again, it’s not a great sketch but the composition is more interesting.

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bridge and church

Not a great rendering but I think it captures the compact, almost squished nature of this place, and the way that some places develop around a particular part of town, in this case the river.

I’m not a big fan of drawing buildings but I developed an appreciation for them, especially in terms of composition.



Urban Environment

John Virtue is an English artist specialising in monochrome landscapes, best described as a mix of abstraction and figuration, he succeeds in blurring the boundaries between the two. He follows Turner and Constable in many ways but also uses oriental brush techniques and has been likened to American Expressionists.

He was Associate Artist in Residence at the National Gallery in 2005, where he created works that connected to those in the gallery. He creates abstract works from real life, based on his perceptions and imagination. He worked in black and white paint before switching to pen and ink. This gives his work a more contemporary feel although it is based in art historic landscape of the likes of Constable and de Koninck. He manages to move away from mere pastiche of the Masters and to strip the landscape down to the bare essentials.

His working methods are rigorous, spending hours drawing in hundreds of sketchbooks before painting a remembered or imagined scene, to further move away from too much detail. Yet instead of working completely abstractly his work is also figurative. He studied these landscapes intensely, living in them, taking the same route everyday. His whole schedule revolves around his landscapes, recording the changes visible in the weather, season, time of day etc to an extraordinary degree of observation.

His London paintings used well known landmarks mixed with blurry backgrounds, so that although ambiguous, they are still recognisable. To Virtue the London skyline is another form of landscape, although he has also included weather for atmosphere. See Landscape No 709.

In the video from BBC Culture, he describes the process of building up sequentially the famous sights and then mixing them up, to use them for his own ends, in the way that he perceives the world. He omits ‘the noise’, so no people, planes, or buses, I suspect these would be a distraction. He admits to moving elements around, as if they were structural components, and creates his own new landscape from a familiar one.

For Virtue, colour is a distraction  yet his monochrome works are full of life and drama, even though no people are present, his presence is everywhere. He describes the monochromatic way of working as ‘a way of seeing that resonates, rather than a way of seeing that is comfortable or reverential.’

In his 2014 exhibition The Sea, the sea is painted in black ink, and captures the sea in all seasons and all weather. There is an immediacy to the works, the viewer is drawn right into the thick of things, it’s wild and alive. See The Sea, No 8, and Norfolk No 2 , 2009.

His body of work is a ‘non-verbal diary’ of his existence, how he makes sense of what he perceives. Perhaps this is why his work is so appealing.

This was a happy discovery for me, learning about Virtue as I really enjoyed looking at his work. I have always enjoyed seascapes but am only now realising their importance to me. I grew up on the coast, not far from the North Sea, and had forgotten what that was like until I saw his work. I would go to sleep with the sound of the sea at night and wake up to it, it was always there in the background and I had not realised quite how much I had missed it.

On a recent holiday to the Canary Islands I took a lot of photographs of the beach, the coast and the sea as it was so beautiful, the air feels different there. There is something special about the sea and its unknown depths.

In a previous exercise I mentioned that I want to go to the coast and draw some scenes, this research exercise, and discovering the work of John Virtue, has reinforced this desire. A long part of my life I have been lucky enough to live near the coast and I probably need to appreciate that more.

I’m just going to quickly mention another artist, David Bomberg, and in particular his work St Paul’s and River, 1945. I really enjoy charcoal as a medium and I like the structural aspect of this, it’s heavy lines and soft blurred skies are strong and contrast well. St Paul’s is just about identifiable, again we see details are not as important as atmosphere.

Bomberg was ahead of his time, his earlier works quite abstract but not always well received. He later became a teacher, with students like Frank Auerbach and Leon Kossoff.

Across the Valley, Ronda, 1954, is another work that is very expressive and quite minimal in detail. Again in charcoal with strong vertical lines and sweeping hillsides, conveying the rolling hills. Smudging and erasing with contrast to create a dramatic landscape.

He spent time in Spain, drawing the impressive Picos de Europa, in Asturias. The huge mass dominating the page in heavy, shading style. These drawings are easily overlooked but are very powerful in their simplicity.


Graham-Dixon, Andrew, John Virtue at the National Gallery, 2005

Schama, Simon, Why I Love the Painter John Virtue, 28 February 2005, The Guardian

Glover, Michael, Great Works: Landscape no 710, 2003-4 by John Virtue ,February 2003, Independent

Dorment, Richard, 23 March 2005, Spectacle in the Swirling Skies, Telegraph

Sheerin, Mark Interview with John Virtue, 27 January 2015 from

BBC, The Culture Show, from OCA website,

Raynor, Vivienne, Art: A Neglected British Genius, 25 September 1988, NY Times

Aerial or Atmospheric Perspective

This exercise seems very similar to the earlier one on foreground, middle ground and background. I have to admit to feeling quite negative at the  moment, I don’t feel as if I have progressed much during part three. It is a very long section and, working alone makes me feel very unsure about where I am going with it.

Nevertheless, I chose a scene of a country road I walk pretty much every day, come rain, snow or sleet. I chose charcoal because it was suggested to use a soft drawing media.


country road

In real life it does feel like going through a tunnel of trees which I think I have shown. It also manages to represent aerial perspective.

I tried a second drawing in soft pastels, choosing a field:

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Clearly I cannot draw a straight line so I need to practice those. This is not a great drawing.

My final attempt was in charcoal again:

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charcoal study of back field

Of all of them I am happiest with this one. It shows the back field behind my house which I love to look at. I think it mostly works well in the front and the background but the middle ground is getting a little lost.

I am trying to figure out why my motivation has taken such a dip of late, perhaps some of it is due to the very lengthy section without any feedback. Perhaps also I need to have some personal interest in the subject matter.

Angular Perspective

I had a feeling going into this section on perspective that it would be my least favourite part and so far I am being proven right. I’m not sure if I am missing something but drawing buildings don’t really excite me. However, as it was raining when I started this, I drew my garden shed from my backdoor.

I’m not quite sure where my eye level is so am going to hazard a guess on this one.

This image has two-point perspective, meaning that it has two vanishing points on the horizon. It is possible to have multiple perspective. I suppose if your vanishing points were not on the same horizon or level it would create a confusing feeling to look at. Sometimes this is done deliberately, for example Hockney played around with perspective in his earlier works so it can be altered to create a different effect.

I am learning that if we did not use perspective drawings would look more like comics, being two dimensional so, most of the time, it is necessary to get a three dimensional view.




Parallel Perspective – Interior View

After reading all of the exercise instructions, I didn’t quite understand the perspective rules but thought it best to attempt it to see where the problem was.

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through the doorway

Apart from the fact that I can’t draw straight lines, this was a bit of a mess and didn’t quite work out. I was sitting on a chair to draw this so my eye level was lower down but the perspective is clearly off. I used the ruler to see where the lines should be and had another go.

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into the kitchen

Not a great drawing but the perspective is much better than earlier. The important thing to remember is that the eye level is an imaginary horizontal like that is parallel to the viewer’s eyes. So, if we move our eye level the horizon will also move.

Foreground, Middle Ground, Background

I pass this spot everyday and noticed that it had definite divisions between the back, middle and foreground so it seemed ideal for this exercise. The view is from a country road so I worked from a photograph, deeming this to be the safest option.

I loosely sketched the scene in willow charcoal before using chalk pastels to work on the background of trees and clouds. This wasn’t too bad. I used a blue pastel and charcoal to add some definition to the trees, just to give them a loose shape and slight tone. I actually didn’t spend too long on trees or the sky as I am very aware that I overdo it with too many strokes so was trying to be gentler on the scene. I used blue in the trees as I know it is a colour that recedes.

I ventured onto the middle ground, with more detail and slightly muted colours. The colours and shapes can be softly smudged to get that slightly out of focus look. The hardest part was by far the immediate foreground, I found it hard to focus on just one area when you are taking in so much information.

On the foreground I used brighter, more vibrant colours and tried to show more detail, I also drew them larger to make them stand out in order to be the main focus.

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country field in chalk pastels and charcoal


I think this is reasonably successful although lacking a bit of finesse! The background and middle ground work well enough but it was hard to draw the finer detail of the wild flowers in the front. However, I think the sharper focus as the front of the image makes it work in terms of perspective. It’s hard to show the direction of the light as it was overcast and there was no obvious direct sunlight, there has been a severe lack of that this summer!


Contemporary Landscape Artists



Dean is one of the Young British Artists, first exhibiting in the 80s, and known best for her film work and blackboard drawings.  Often working in series, some people say her films are like drawings  and her drawings are like films, there is a sequence, not much action and time passes slowly.

Dean’s blackboard drawings are cinematic, drawn in white chalk on blackboards, with annotations as if this were a narrative being shot for camera. They are large in size, some measuring 89 inches by 24 approximately. Working in series allows for a story to be told, a narrative is constructed and a journey is being taken.

Adding words to the canvas adds a literary dimension, giving a narrative to the journey, it also allows for an atmosphere to be created, weather conditions are suggested and it helps the story move along.

In Fatigues, the size of the mountains suggests the power of nature over mankind, reminding us human life is vulnerable and limited compared to the enormous impressive presence of nature. This suggestion is reinforced by the use of the fragile temporary media of chalk, it can be erased or smudged too easily. Whilst they are realistic, drawn from photographs, they seem to capture the passing of time, fusing fiction and reality.

Looking at this series of works is like watching on a big screen, changing the usual relationship we have with paintings, normally we stand in front of them and look at them closely; the cinematic allusion suggests this is a more active experience to immerse ourselves in and watch it unfold. It is no mean feat to consider that a set of static drawings can give the suggestion of movement through scale and words.

If we compare this to Seurat’s Landscape with Houses, 1881-82, which is drawn in conté crayon on white background, (roughly 10 inches by 13 inches), we consider the similarities. They are both monochrome and show a realistic scene with little detail and both give us a sense of place.

Seurat’s Landscape is very dark, with many shadows, you can just make out a tree and some houses, and there is little variation in tone. During this period Seurat moved towards naturalism which, according to Tate Gallery, represented things closer to the way we see them. This was a move away from the idealised representation of earlier. He used space to indicate distance and probably drew this from life, as an immediate response to what he saw with his own eyes, whereas Dean’s work was drawn in a studio.

Landscape with Houses could be described as an everyday image of something very ordinary. It is drawn, not to capture a moment in time, but rather to create the sense of place so details are not as important as feeling. It captures a simple night-time, twilight scene, it does not tell a story.

It is sometimes seen as the first photograph, an image created using light, the light being the off-white background of the drawing. Dean has used white chalk to depict her scenes against a black background, it not a photographic capture but a narrative response to nature.


Looking through Vitamin D2, I discovered the work of Ewan Gibbs which, at first glance, seems similar in effect to Seurat’s pointillism. The small marks create a larger picture like a photograph. Gibbs works from photographs and then creates what looks like a knitting pattern. Up close they look abstract and famous scenes look unrecognisable, see New York, 2007. He shows us a different way to look at what we think we know.

Like Seurat’s pointillist works, Gibbs works laboriously to create his detailed images, the tiny marks in themselves meaning little but together creating full images. Everything is intentional and precise.

In his images of architecture, his work reminds us of the structural aspect, the code-like marks reinforce the architectural nature as if they were architects plans. They also look as if they are from another period in time, slightly old fashioned as if faded by time.

Seurat is most known for creating pointillism or divisionism, although his works were made by combining small dots of colour to create an overall effect. He was interested in new effects and colour theory to signify expressive qualities more than realism. The optical effects created by the pointilist marks allow the eye to see the picture as a whole.


Corwin, William, 18 May 2013, Tacita Dean, Frieze

Herbert, Robert L., 1991, Georges Seurat 1859-1889, Metropolitan Museum of Art

Krama, Ed, Cinematic Drawing in a Digital Age, Tate Papers No. 14, Autumn 2010

Eakin, Emily, Celluloid Hero, 31 October 2011, New Yorker

Ollman, Leah, Scribes of Precision and Obsession, 11 January 2002, Los Angeles Times

Developing Your Studies

Reading the introduction to project 3 was a light bulb moment, precisely why I have found landscape so challenging is because I have been overwhelmed with information! Every time I draw outside I am struggling to condense what I see into the limitations of what I can draw on a piece of paper. Putting this into words has helped me, no wonder my brain felt like it was going to explode, it was in sensory overdrive. Photographing scenes and looking at them on screen, and going back and looking at the original scene has helped, as has using a viewfinder.

I’m not exactly sure what I am going to draw in a larger drawing, based on the drawings from project two so, at this point, it seems to make sense to select elements of the ones that appeal to me.

Even though the cloud formations were difficult to draw, I really like clouds so clouds should form a part of my drawing. To recap, here are my three drawings:

From the sketchbook walk:

360° studies:


Considering composition, I like the sketches with the paths although the bench is interesting because of the diagonals, the plant pots on the patio are also interesting for the same reason. There are problems distinguishing background, foreground and middle ground so I need to work more carefully. I would say that I haven’t quite found the right composition yet, I need to consider verticals, horizontals and diagonals. Leading the eye around needs consideration.

I feel like I have drawn a lot of trees, which is fine, that has been enjoyable but at the moment I don’t think have found what I am looking for. I think I need to go and look at more open landscapes, perhaps a visit to the seaside is in order, next time there is a dry day. Perhaps also some mountains. Just so that I can compare with the closed landscape I have drawn so far.

In conclusion I need to consider different subject matter, perhaps the coast and/or mountains. Also, I feel the need to draw a more simplified drawing; I can be quite heavy on the mark making and it feels like a good time to experiment with a more minimal approach, perhaps even verging on the abstract, that would be an interesting exercise.

Landscape Series

All of the following artists worked in series which suggests an investigate spirit or pursuit of perfection. They’re not creating pretty landscapes for the sake of creation but looking for answers in their observations.

Monet 1840 – 1926

Monet is often credited with being one of the founders of Impressionism, he was influenced by Turner’s work and his quest to paint light and colour, trying to capture the changing light and seasons. His emphasis was to create an ‘impression’ of a transitory moment, an atmosphere or essence rather than a detailed representation. He painted the same subject at different times of day and in different weather conditions, observing the light.

Monet convinced his fellow artists to get out of the studio and paint outside. He insisted that painting should take place whilst outside looking at the chosen subject matter and not finished in the studio. This resulted in changing methods and techniques, with the sun passing, there was not time to paint in a leisurely, layered way, artists had to be faster, less precise, with less focus on detail. It led to a looser, more expressive style that did not appeal to the critics at the time.

It clearly preceded modernist abstract art of the twentieth century, whilst moving away from the traditional academic style. The Impressionists, although they were rejected by the French Salon, are generally accepted as the forerunners of Modern Art.

His Le Déjeuner Sur L’Herbe, 1865-66, is painted after Manet’s original but his version depicts the light falling on the leaves and people, and his people lounge comfortably amidst the landscape. The focus was on the moment of the picnic, rather than the landscape or people.

His work Impression: Sunrise, Le Havre, 1872, is the source of the term Impressionism and was ridiculed by critics. It shows a hazy, diffuse light with indistinct background shapes, the brushstrokes are longer, starting to move away from his more detailed works.

Wild Poppies near Argenteuil, 1873, is a vibrant work that shows his growing interest in colour, with the use of complementary colours,  contrasting red and greens, blues and yellows. He had become aware that colours contained other colours, e.g. browns could be represented by red, yellow and blue.

Whilst the work may often give the ‘impression’ of an event or moment in time, Monet’s works were very considered, great thought and planning were given to the placement of colours. Instead of being accurate representations, he was preoccupied with reflections, water and the enveloppe, the ‘envelope’ of light surrounding everything.

Monet spent decades studying his garden at Giverny, recording it and the seasons and painting waterlilies. The clouds are reflected in the water, amongst the lilies, which adds depth and also a dream-like quality. These paintings got bigger in size, so big he got rid of the frames so as not to distract the view from the lilies and  his fabulous pond.

From 1890 to 1891 he painted nearly thirty paintings of haystacks, Haystack (Effect of Snow and Sun), studying the changing light and the changing season and the effects of these on the stacks. Originally he thought that two canvases would be able to express the light but soon realised he needed many more due to the subtleties caused by the changing weather and seasonal light. By using the repeated image of the haystack, he could depict the light in every way.

Cézanne (1839 – 1906)

Cézanne was also a member of the Impressionists but after criticism and rejection from the Salon he returned to his native Aix-en-Provence. He had some funds so was able to paint at leisure and pursue his own interests. He was particularly concerned with the true forms of nature, especially structure. He spent many hours studying light on surfaces. He noted that the three fundamental shapes were geometrical, namely cylinder, cone and sphere and decided the fundamental colours were the primary and secondary colours with which the Impressionists had experimented.

He was aiming for artistic perfection, which he described as painting ‘Poussin from nature’. He was looking for the harmony and balance of shapes that Poussin so successfully created, and looking for new ways in which to do it. Cézanne believed that the old rules were contrary to nature and painting from  nature was now paramount. The problem was how to achieve the solidity of form using Impressionist strokes and dots, without creating blurriness and disharmony, and in colour was problematic. Attempting to bring the bright colours of nature seemed unrealistic and flat. Cézanne seemed somehow to master the challenge.

One of his obsessions was Mont Sainte-Victoire, the mountain just outside Aix, which he painted over sixty times.  The summer light is obvious yet the landscape is firm and rooted, patterns of lines are repeated and the overall effects show space and expanse, giving structure and harmony. Everything is considered, from the vertical and horizontal lines, to colour, to direction of brushstrokes.

Often called the father of ‘modern art’ because of his efforts to create harmony through composition and colour, Cézanne was later known as a Post-Impressionist as his work moved on from the original group’s preoccupation with light. He progressed from the small spots of colour instead using larger patches, stripping down the detail to focus on structure. This ‘flat depth’ utilised blocks of colour to represent space and depth. His later work became more abstract and was of major influence to the Cubists.

Hockney (1937 – )

A contributor to the Pop Art movement, Hockney may be better known for his California landscapes of the 1960s, vivid, stylised paintings depicting the relaxed lifestyles of American, with their swimming pools. He painted many pools, attempting to capture transient moments, and the changing movement of water. He used fast-drying acrylic paint which matched the colourful sunny climate of California.

Painted  in 1967, A Bigger Splash seemed to perfectly embody the British sentiment that the war was behind us and the outlook was optimistic for the future. There is no visible human presence but the suggestion is there, beneath the surface, what is left is just the splash and ripple of the water.

Moving Focus (1984-7) is a series made after travelling in Mexico. Hockney became interested in printing and lithographs which allowed him to work in layers. These panaromic works were large in size, which allowed him to show different viewpoints as if someone was walking along, taking in different views from many angles. The fixed viewpoint is intermingled with the multiple viewpoint to give an interesting effect. He plays around with composition and perspective, examining how we see and the role that memory plays.

His next period of work involved making collages with polaroids. He used a camera to draw with, using multiple images to create a larger image called ‘joiners’, see Pearlblossom Highway. They allowed him to represent time and movement, and showed multiple viewpoints to give a three dimensional effect. The ‘joiners’ permits a view closer to the way we really see things.

Initially the polaroids were arranged in a grid before he progressed to collages, using 35mm prints, making the image more abstract.

More recently Hockney returned to his Yorkshire roots to paint outdoors, painting a series from one spot in Woldgate Woods. These paintings show the landscape through the changing seasons, repeating motifs. Some are made in watercolour which allowed him to work quickly to capture the changing light. He first sits for a few hours to observe before working quickly to put it down on paper. They are very colourful, vivid works which seem to elevate the woods in an idealised way. They are also very large in scale, one even bigger than Monet’s waterlilies. His version of landscape has become bigger, brighter and bolder, a celebration of Northern landscape. It’s not too everyone’s taste, some critics have called them repetitive and gaudy, like Matisse meets Disney¹.

Nevertheless, what Hockney has done is similar to Cézanne and his beloved mountain. He is clearly enamoured with the region and his works demonstrate this if nothing else.

Peter Doig (1959- )

Doig is a contemporary artist who paints imagined landscapes, they are enchanted and simultaneously unsettling. He uses photographs as source material to create a land that combines real life and fantasy, often picturing water and canoes, sometimes populated with figures that have hidden features, i.e. hats and glasses, blinds are pulled down putting a veil over everything. They are not quite approachable, there is mystery here amongst the paradise, he questions reality yet with an over-riding sense of serenity.

His painting Swamped, sold for £16 million in 2015. He is reputed to have brought beauty back to painting landscapes, his works are full of colour yet show the paint marks and blobs which are part of the works. They are sometimes described as magic realism, meaning he brings beauty to the most ordinary scene, they do seem almost other worldly, almost dreamlike. This effect is achieved through unusual colour combinations and interesting angles, this is not realism.

The Architects Home in the Ravine, shows an almost inaccessible house, blocked by tree branches, which themselves become the focus of the piece. Instead of the house in the background being the subject, in spite of the title, the viewer is held back from entering by the scene-grabbing trees which demand our attention.

Some of his work refers to Canada where he lived for some years when younger, in White Creep, we see a forbidding mass of snow, it is not the mountain or the sky that dominates but the enormous density of snow. He’s turning traditional focus from the land towards the elements and nature.

Another series concentrated on Le Corbusier’s apartments in France, Concrete Cabin, there’s an attractive designer building, with all that living there suggests, yet the huge trees dominate and overshadow the otherwise idyllic scene. It shows a glimpse as if we were walking through the woods to suddenly come upon the buildings. Our view is hindered which creates tension and drama.

Gillian Carnegie (1971-)

Nominated for the Turner Prize in 2005, Carnegie is an acclaimed painter in the traditional categories of landscape, portrait and still life but her approach questions them. Often challenging the accepted norms for composition, light, colour and technique, she has created a number of series, including woodlands and cats.  They appear to be traditional but on a second glance there is more to consider, they raise many questions. The thickness of the paint stops the viewer from getting too close.

Black Square, 2008 is one of a series of monochrome landscapes depicted in darkness; painting in such dark colours raises questions about light and visibility and puts an emphasis on the texture. The painting becomes the focus, the texture and materiality are clearly of importance. It questions the very act of painting itself and through this Carnegie is examining the concept of art and traditions of landscape painting.

Carnegie also use photographs as source material. Her work is said to be lacking in narrative and colour but her works are very considered and significant. Whilst many of the artists mentioned here have focused on light and representing light, Carnegie has examined darkness and representing the lack of light in muted or monochrome tones, an interesting departure from the quest for light.



  1. Cumming, Laura, 22nd January 2012, David Hockney: A Bigger Picture Review, The Guardian


Pickeral, Tamsin, 2005, Turner, Whistler, Monet, London, Flame Tree Publishing

Gombrich, E.H., 2016, The Story of Art, London, Phaidon Press

Swinglehurt, 1994, Edmund, The Life and Works of Cézanne, Parragon

Farthing, Stephen, 2010, Art: The Whole Story, London, Thames and Hudson



Tate Gallery Website

Searle, Adrian, 16th January 2012, David Hockney Landscapes: The Wold is not Enough, The Guardian

Massie, Claudia, 10th August 2013, London Peter Doig: Places of Enchantment, The Spectator


Jones, Jonathan, 16th May 2015, Stroke of Genius: Peter Doig’s Eerie Art Whisks the Mind to Enchanted Places, The Guardian

Gottam, F.G., 31st January 2008, Peter Doig, A Perfectionist in Paradise, The Independent

Jeffries, Stuart, 5th September 2012, Peter Doig: The Outsider Comes Home, The Guardian

Buck, Louisa, 23rd June 2017, The Quietly Transfixing Artist Gillian Carnegie Puts on Her First London Show for Eight Years, The Telegraph