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John Henry Twachtman
End of Winter
mk68
Oil on canvas
Washington
Smithsonian American Art.
c.1889
USA
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John Henry Twachtman
Arques la Bataille
mk75
1885
Huile sur toile:152.4x200.3cm
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John Henry Twachtman
The White Bridge
mk77
Mid-1890s
Oil on canvas
30 1/4x30 1/4in
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John Henry Twachtman
Meadow Flowers
mk140
circa 1892
Oil on canvas
84.6x56.3cm
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John Henry Twachtman
Hemlock Pool
mk146
ca.1900
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John Henry Twachtman
Waterfall in Yellowstone
mk162
c.1895
Oil on canvas
23x16
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John Henry Twachtman
Arques-la-Bataille
mk177
1885
Oil on canvas
60x78in
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John Henry Twachtman
Gloucester Harbor
mk177
1901
Oil on canvas
25x25in
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John Henry Twachtman
THe Waterfall
mk177
c.1890-1900
Oil on canvas
30x30in
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John Henry Twachtman
The White Bridge
mk177
1900
Oil on canvas
30x25
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John Henry Twachtman
Azaleas
mk177
1898
Oil on canvas
30x24
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John Henry Twachtman
New York Haffen
mk181
1879
Cincinnati
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John Henry Twachtman
On the Terrace
mk196
c.1897
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John Henry Twachtman
Winter Scene
mk212
1890-1900
Oil on canvas
76.5x76.5
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John Henry Twachtman
Winter Harmony
mk235
c.1890-1900
Oil on canvas
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John Henry Twachtman
The White Bridge
mk235
c.1900
Oil on canvas
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John Henry Twachtman
The White Bridge,
The White Bridge, ca. 1895, Minneapolis Institute of Arts
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John Henry Twachtman
Summer,
Summer, 1897-99, Phillips Collection.
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John Henry Twachtman
Meadow Flowers
ca. 1892
Oil on canvas
84.6 x 56.3 cm (33.31 x 22.17 in)
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John Henry Twachtman
Meadow Flowers
Medium Oil on canvas
Dimensions Expression error: Missing operand for *84.6 ?? 56.3 cm
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| John Henry Twachtman
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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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