A painter of nocturnes greater than Whistler, he developed a great love for night scenes, and was commercially successful.
Bridging between the Middle Ages and the Renaissance, he was a master who helped shape our whole visual culture.
The Saracens launch their assault on the city of Paris. Meanwhile, Astolfo is making the long journey back to Europe, during which he has capture a giant and kill a monster who self-repairs.
He continued to develop his style and technique in landscapes, with a remarkable lightness of touch, and figures shown as cutouts from their background.
Wonderful paintings of the last years of sail, from Aivazovsky, Clarkson Stanfield, William McTaggart, Seurat, Signac, and others.
From 1643 (Claude Lorrain), through Claude-Joseph Vernet and Turner to JC Dahl two centuries later.
From about 1899, he took to the streets for his nocturnes and twilight views, influenced by Munch and perhaps van Gogh.
During the decade to 1904, he painted extraordinary nocturnes and other views in low light, in the centre of Stockholm.
Three knights are trapped in a Magic Castle, each looking for their beloved. Angelica leads them to freedom, but keeps vanishing. Tales of shipwreck and treachery too.
His bathers and portraits remained very popular, with their soft focus. His landscapes remained more experimental, thankfully.