2 Artists Who Feature Bridges in Their Work

For my ongoing project, I’ve been focusing on the landscape of Lacock—a place rich with distinct elements, including Lacock Abbey, winding rivers, shallow fords, the main bridge, a smaller ford bridge, and sprawling vistas dotted with wildlife.

Thus far, my work has centered on the landscapes surrounding the Abbey and the river that cuts through the village. For my next painting, I want to zero in on one of my favorite spots in Lacock: the Ford, and specifically the small bridge that spans it in the heart of the town. This modest structure connects the village center to the residential area, and the shallow waters beneath it are a beloved spot for families—ideal for playing pooh sticks and splashing around in wellington boots. There’s a quiet seating area nearby, offering the perfect vantage point to work from, and I aim to make this bridge the star of the piece.

When seeking inspiration, I’m drawn to artists who employ expressive, near-abstract styles—most notably Jeremy Mann, whose layered brushwork and bold color palettes craft incredibly vivid atmospheres. When I think of paintings featuring bridges, Claude Monet’s work immediately comes to mind.

“Bridge over a Pond of Water Lilies” by Claude Monet (1899), Oil on Canvas

This piece exudes pure serenity, placing the bridge front and center as the focal point. Monet elevates the structure with its surroundings: soft pink water lilies and delicate green foliage that frame it beautifully. The bridge itself is slender and understated, yet it never fades into the background. Monet uses tiny, precise brushstrokes throughout, creating a representational scene that feels almost dreamlike and idealized.

I hope to highlight the Lacock bridge in a similar way—making it the central focus—but with larger, more expressive brushstrokes. This will ensure the bridge stands out, pushed forward by the surrounding elements rather than blending into them. While Monet’s tones are realistic and soft, with subtle pastels that capture light and shadow gently, I want to intensify my color palette, emphasizing light and dark contrasts in a more dramatic fashion, akin to Mann’s style.

“Fall Bridge” by Leonid Afremov

Afremov crafted this piece entirely with a palette knife on canvas—no brushwork whatsoever. I’m captivated by the vibrant hues, immersive atmosphere, and tactile texture this technique creates. Like Sarah-Jane Brown’s “Kiss Me,” the painting contrasts the softness of the water with the bolder elements around it—a dynamic I’m eager to incorporate into my own work.

Working exclusively with a palette knife would be a significant challenge, and I’m not yet certain if it aligns with my vision. I’ll let the painting evolve organically and decide on the technique as I progress.