The Big Serpentine 1920

Dorrit Black painted *The Big Serpentine* using oil on canvas, and it feels like a very immediate encounter with nature. The brushwork is visible, like a record of her looking and responding. It’s not about photo-realism, but about capturing the essence of the scene. The paint application is quite direct; you can see how the colors are layered, especially in the foliage. Look at the way she’s used different greens, browns, and yellows to create depth and texture. The brushstrokes are confident, almost like she’s sculpting the landscape with paint. Then there’s that light! Check out the interplay between light and shadow on the trunks of the trees. The quick strokes create a real sense of atmosphere. Black’s work is often linked to Modernism, and artists like Cézanne. But here, I see something more personal, a real connection with the landscape. It reminds us that painting isn't just about representation; it's about feeling and seeing the world in a new way.