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Incredible www.theguardian.com/science/2025...

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On dreich days like these it might cheer you up to know that in 19th-century slang an umbrella was a ‘bumbershoot’.

'Lighted Houses, Amsterdam.' A critic, writing in 1921 (the year of this work) commented, Cees Bolding 'gives us out of very simple elements a perfect nocturne constructed from the domesticity of our back streets... he has complete hold of a subject and has made it his own.'

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Harry Kernoff's vivid depiction shows Ringsend, Dublin in 1935. Located on the south bank of the River Liffey, it was named from the Gaelic Roinn Aun or Sea Point and in the 17thC took over from Dalkey as Dublin's main port before going into commercial decline in the 20thC.

'Reading by Candlelight.' (1912) Carl Holsøe frequently used his wife Emilie as a model; she is often depicted as though she is being observed unaware. It is her presence which gives this work its tension, making the viewer feel as though we are intruding on a personal, meditative moment.

'Evening Falls.' (1917) is a beautiful example of Nikolai Dubovskoy’s mature period when he painted some of his best works. A hugely influential painter, together with Isaac Levitan, he helped create what came to be known as the landscape of mood.

Many of John Ruskin's watercolours reflect an interest in the close observation of skies and clouds, studied at dawn, sunset (as here in 1845) and in varying weather conditions. His interest in these themes was a lifelong one.

'Pink Lustre Mug and Fan.' (1909) William Nicholson’s use of a lustre mug has enabled to display his technical abilities in depicting the reflective nature of its material. In positioning the objects on a reflective table top, he reinforces the mug’s texture.

Flowers, still lifes and domestic interiors are the primary subjects of Ethel Sands’s painting; here they are combined with books on a small bookcase at the Château d’Auppegard, a large 17thC house near Dieppe where Sands and her partner, the painter Nan Hudson, spent summers together from the 1920s

It is rare to find Hans Heysen's early work from when he was at Académie Julian and Colarossi’s Academy in Paris in the decade before WW1. This work, painted on a cold Parisian morning, is prosaically titled, 'From the Apartment Window, Paris, 1901.'

Ville d'Avray, some ten miles from Paris, was to provide Corot with an important subject for his paintings throughout his career. His father bought a country home here in 1817, and Corot never tired of painting the place which had meant so much to him as a youth. This work is from 1834.

#BBCNews - Over-50s in England offered home bowel-cancer tests www.bbc.com/news/article...

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'Rouen: les lumières sur la Seine, pris du Pont de Pierre,' is one of several versions of this composition which resulted from John Atkinson Grimshaw's only known trip abroad, when he escorted his children's governess, Mrs Ruhl, back to Germany in 1878.

With its thriving port, picturesque architecture and the beautiful surrounding countryside, the coastal town of Kirkcudbright in Scotland has attracted artists from the 19thC onwards. Samuel Peploe's paintings of the town (this is from around 1917) emphasise the geometry of its buildings.

'Sunday Afternoon, Hyde.' (c1932) Harry Rutherford was described by his teacher Walter Sickert, as: 'my intellectual heir and successor.' Rutherford carried over Sickert's teaching that an initial drawing was about capturing an idea to jog the memory, which was then revisited and developed.

Hercules Brabazon Brabazon made studies after many artists, including Velàzquez and Frans Hals and in particular, such as this sunset, after J.M.W. Turner. These works provide a record of his continual process of study; they are not straight copies but interpretations in his own pictorial language.

Walter Bayes' inspiration for this painting from 1917 will have stemmed partly from his former tutor Walter Sickert, who himself depicted cinema in the early years of the 20thC. Like Sickert's work, the focus here is on the audience, the cinema's interior, and the action on the stage.

Philip de László was one of the most cosmopolitan portrait painters of the late 19th and early 20thC, and perhaps the last heir of the grand manner; here (1925) he portrays Viscount and Viscountess Lee at their country house Chequers, later donated to the nation as a retreat for the Prime Minister.

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'In the wild north.' (1891) Romantic, uncontrived and unmistakably Ivan Shishkin. His method of working was largely based on meticulous observation and the use of sketches which enabled him to build his own pictorial lexicon of a landscape.

CAT ADVISORY: Temperatures in the UK could drop to -10c tonight. All cats should IMMEDIATELY find the warmest spot in the house and stay there. Tell humans to bring you snacks and to keep the second warmest spot free in case you want a change of scenery.

Completed in 1903, Monet's windowless silhouette of the Houses of Parliament with its atmospheric array of jewel-like violets and lilacs, cobalt and inky blues, and deep pink tones, appears mystical, as the building dissolves into the expansive, still waters of the River Thames.

'Miss Hussey.' (c1953) Carel Weight is known for his portrayals of daily life in Battersea and Clapham and for his penetrating portraits, of which this is a prime example. Miss Hussey was a near neighbour in Putney and in Weight's words 'formidable at chess.'

'A Winter Landscape.' (c1960) Jeremiah Hoad's paintings are a product of an intense and spiritual engagement with the landscape, in this case County Donegal. He once said he was baffled how he came to paint: 'it's like a meditation, I end the day not knowing how I arrived at what is on the canvas.'

Rockwell Kent travelled to Greenland on three occasions between 1929 and 1935 when this picture, 'Iceberg, Sledge-dogs,' was painted. Each time he lived in Igdlorssuit, on Ubekjendt Eiland (Unknown Island). It was during his 1935 trip Kent wrote his book about life in Greenland called 'Salamina.'

'Apples.' (c1919) Matthew Smith was a superb colourist whose work owed much both to his early years in France and the Fauve tradition - his paintings possess a muscular vigour and directness quite alien to the predominant styles of painting in Britain at the time.

#MS_Selfie Q&A 67: the role of iron in MS I think iron chelation may work in slowing down smouldering MS, but it will always be a downstream process ....

'Switzerland in Winter.' John Lavery visited the fashionable resort of Wengen in Switzerland in 1912-13 producing mountain landscapes which favourably compare with John Singer Sargent's alpine scenes of the period.

This interior view belongs to a group of five paintings in which Adolph Menzel studied the effects of light in simply furnished spaces he occupied in Berlin between 1845 and 1851. This was his spare bedroom at his house on Ritterstraße and painted in 1847.

Walter Sickert painted this view of Maple Street in London around 1925. It’s unclear whether this is a nocturne or is seen under the dark grey sky of imminent rain. He later repeated the composition as a print titled 'O Sole Mio,' a humorous allusion to the street's illumination by streetlamp

'Portrait of Francis Bacon.' During WW2, Rodrigo Moynihan was recruited as an official war artist through the support of Kenneth Clark, the Director of the National Gallery in London. This later led Moynihan to his appointment as the head of painting at the Royal College of Art soon after the war.

Landscapes occupy an integral space within Gabriele Münter’s body of work. The natural world inspired her very first foray into painting and it remained a key source of inspiration throughout her lifetime. This picture was painted at Elmau in Bavaria in 1933.

'Irises.' (1909) Piet Mondrian painted several works featuring irises when his interest in Theosophy was at its height; the Theosophists were an active force in the Symbolist movement at the turn of the 20thC.

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There is some gorgeous apricity about this morning: (17th century: warming sun on a winter’s day).

'Still Life with a Landscape with Ruins.' (1911) Alexej von Jawlensky's use of rich, non-naturalistic colour owes a clear debt to the art of Henri Matisse and the Fauves whom he had first encountered in 1905, when several of his paintings were exhibited at the Salon d’Automne.

Word of the Day is one I keep posting at the end of the year, hoping its time will come. ‘Respair’, from the 16th century, is fresh hope, and a recovery from despair. Here’s to a few drops of respair in 2025.

Hurrah! The Movers and Shakers are in the Sunday Times Alternative Honours List The Sunday Times Alternative Honours of 2024 www.thetimes.com/article/6636...

Word of the day is a favourite for this time of year. To be ‘crambazzled’, in old Yorkshire dialect, is to be prematurely aged by excess drinking or partying.

'Moonlight by the Sea.' (1907) Like Munch, Harald Sohlberg worked with a simplified palette, frequently white, black, blue, red or green, which helped capture something of the specific Nordic light, atmosphere, and mood

Rex Whistler's portrait of the soldier Charles Paget, 6th Marquess of Anglesey from 1942, displays the artist's sensitivity, his feel for intrinsic elegance; a resonant record of an England displaced.

Around two years before painting 'Washing Day,' (1887) William Merritt Chase began a series of views of parks and private gardens in Brooklyn, New York, which marked a notable departure from his previous work with strong diagonals opening up the compostion.

In his paintings of the late 1880s and 1890s, Harald Sløtt-Moller drew on the tradition of stemningsmaleri or mood painting, characteristic of Nordic art towards the end of the 19thC, a theme which also strongly influenced his Scandinavian contemporary Edvard Munch.

'Above the Smoke.' George Hyde Pownall was a painter of evocative London street scenes in the tradition of John Atkinson Grimshaw and James McNeil Whistler, combining the effects of fine detail with the loose manner of impressionism. This is from 1917.