John Henry Twachtman

American Impressionist Painter, 1853-1902 American painter and printmaker. He began as a painter of window-shades but developed one of the most personal and poetic visions in American landscape painting, portraying nature on canvases that were, in the words of Childe Hassam, 'strong, and at the same time delicate even to evasiveness'. His first artistic training was under Frank Duveneck, with whom he studied first in Cincinnati and then in Munich (1875-7). His absorption of the Munich style, characterized by bravura brushwork and dextrous manipulation of pigment, with the lights painted as directly as possible into warm,
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John Henry Twachtman The White Bridge oil


The White Bridge
Painting ID::  54497 		The White Bridge
mk235 c.1900 Oil on canvas
mk235 c.1900 Oil_on_canvas
   
   
     
John Henry Twachtman The White Bridge, oil


The White Bridge,
Painting ID::  61224 		The White Bridge,
The White Bridge, ca. 1895, Minneapolis Institute of Arts
The_White_Bridge,_ca._1895,_Minneapolis_Institute_of_Arts
   
   
     
John Henry Twachtman Summer, oil


Summer,
Painting ID::  61225 		Summer,
Summer, 1897-99, Phillips Collection.
Summer,_1897-99,_Phillips_Collection.
   
   
     
John Henry Twachtman Meadow Flowers oil


Meadow Flowers
Painting ID::  66157 		Meadow Flowers
ca. 1892 Oil on canvas 84.6 x 56.3 cm (33.31 x 22.17 in)
ca._1892 Oil_on_canvas 84.6_x_56.3_cm_(33.31_x_22.17_in)
   
   
     
John Henry Twachtman Meadow Flowers oil


Meadow Flowers
Painting ID::  70564 		Meadow Flowers
Medium Oil on canvas Dimensions Expression error: Missing operand for *84.6 ?? 56.3 cm
   
   
     
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     John Henry Twachtman
     American Impressionist Painter, 1853-1902 American painter and printmaker. He began as a painter of window-shades but developed one of the most personal and poetic visions in American landscape painting, portraying nature on canvases that were, in the words of Childe Hassam, 'strong, and at the same time delicate even to evasiveness'. His first artistic training was under Frank Duveneck, with whom he studied first in Cincinnati and then in Munich (1875-7). His absorption of the Munich style, characterized by bravura brushwork and dextrous manipulation of pigment, with the lights painted as directly as possible into warm,

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