Ponte Sant’Angelo, Rome, Edward Seago; 20 x 30 in. (51 x 77), link is to Bonham’s auction from 2019. I assume it’s currently in a private collection.

Edward Seago, a British painter active in the early to mid 20th century, is one of my favorite landscape painters. I particularly love his brushy, painterly application of paint, as is evident in this view of the famous bridge in Rome.

Autumn – On the Hudson River, Jasper Francis Cropsey, oil on canvas, 60 x 108 in. (152 x 275 cm), in the collection of the National Gallery of Aart, DC, which has both a zoomable image and a downloadable high res file available.

Cropsey was a 19th century American architecht and first generation Hudson River painter known for his colorful and dramatic views of mountains and valleys, particularly when arrayed in bright fall foliage.

This painting is considered his landmark work, painted in the studio from memory, notes and sketches. It’s common to talk of landscape paintings as haveing a morefgound, middleground and background, but Cropsey’s composition appears to have six or seven levels of distance, reinforced by his deft handling of atmospheric parspective.

I love the little details that lend the image scale; the family picnicing on the hillside in the foreground (images above, second down), the horse and rider on tha path between the trees in the middleground, a bit to the right of center (images above, third down) and the cows drinking from a stream at the lower right (images abvoe, bottom).

Cattleya Orchid and Three Hummingbirds, Martin Johnson Heade, oil on wood, 14 x 18 in. (35 x 46 cm), in the collection of the National Gallery of art, DC. which has a large downloadable image.

Though he also painted wonderful landscapes, Martin Heade’s standout subjects are his portrayals of exotic flowers and birds. Here, he sets a striking pink orchid against a mist enshrouded forest, and includes three rare hummingbirds and a nest with eggs.

Angela Hao lives and works in the U.S., but makes virtual visits to Japan via Google Street view, capturing the charm of small, quirky storefronts in digital ink and watercolor style illustrations she creates in Procreate.

These are delightlfully whimsical and take note of the small details that give each little store its own personality.

She has prints available on inPrint.

Via My Modern Met

Andries Stilte as a Standard Bearer, Johannes Cornelisz Verspronck, oil on canvas, 41 x 31 in. (104 x 79 cm), in the collection of the National Gallery of Art, DC, which has both a zoomable and downloadable version of the image.

I hadn’t heard of 17th century Dutch painter Johannes Verspronk until I came across this painting while browsing the National Gallery site.

The portrait grabbed my attention with its striking persence and dimenaionality, the latter largely accompished by the extended elbow and the overall value structure, which thrusts the figure forward into the light out of the dark background..

Meticulous attention is paind to the uniform, a symbol of the subject’s rank and position in the malitia. Though some of the elements, like the feathers, are handled quite economically.

Emilio Ocón y Rivas was a 19th century Spanish artist specializing marine subjects, perhaps unsurprisingly as he lived in Malaga, the bustling port city on Spain’s Medterranean coast. He is considered responsible for founding the School of Marine Artists there.

He had a particular touch for atmosphere and his paintings show the moods of the sea, sunny and tranquil, stormy and dark.

Cautionary note to contemporary painters: Ocón died of lever disease brought on by the ingestion of paint – due to his habit of bringing his brushes to a point in his mouth.

I first wrote about West Virginia painter Lynn Boggess back in 2014. As an introduction, I will quote myself from that post:

—
In writing about painters who work with thick impasto (such as Antonio Mancini), I have sometimes used “troweled on” as a metaphor to describe the heavy application of paint. In the case of West Virginia painter Lynn Boggess, however, “troweled on” literally applies to his painting method.

Boggess works in a manner associated with painting knives; and though he does use large painting knives at times, he works at such a scale that cement trowels of varying sizes are among his most commonly used tools for the application of paint.
—

Boggess traverses the line between naturalism and non-representational painting with surprising ease. His dimensionally thick paint at times seems as close to sculpture as it is to painting.

Boggess’s work is currently on display at the Principle Gallery, Alexandria, VA, in a solo show that started on April 24th, 2026. I’m assuming it wil run for a month, though I didn’t see that mentioned on the site.

For more, see my previous post about Lynn Boggess

Oliver Bonhomme is a French illustrator and art director with a long client list that inludes le Monde, the New York Times Magazine, The Washington Post, Apple and numerous others.

His illustrations look at first to be high in chroma, but then you realize the colors are not actually that intense, but are made to appear so by the artful juxtapositon of complimentary colors.

His subjects are often imaginative and surreal, but sharply delineated and graphically strong.

[Via Richard Solomon, Artist Representative]