The first of two looking at the telling of English legends in paintings: Robin Hood and his ‘Merry Men’, popular for the last 500 years.
An astrological allegory, self-portrait, Christ washing the feet of his disciples, and a cycle of paintings from Genesis.
For once the name is accurate: it originated in the Prussian Empire around 1704, and by 1730 had established itself as a standard if not entirely reliable pigment. Watteau, Canaletto, Hogarth, Blake, Monet, and van Gogh all used it.
The story of the assassination of the dictator, told by William Blake, Gérôme, von Piloty, and others.
A collection of the finest paintings of the Nativity, from 1263 to the 20th century – all innovative, and some unique.
We’re easily convinced of the reality of 2D images – as when early audiences panicked as the Lumières’ train ran at them in a movie. How has our exposure to pictures changed, though?
This takes us from Samuel Palmer and Peter De Wint, through Girtin and Cotman, to JMW Turner and William Blake.
She mastered drypoint, aquatint, and monotype processes, combining them to produce superb prints – as well as wonderful pastel paintings.
An unusual myth told vividly by Ovid, which appears never to have been painted. But there are some fine engravings, and a marvellous watercolour by Blake.
Domenicus van Wijnen’s paintings are radically original, quite unlike other works before him, and not matched for more than a century after. Why don’t we know him and these paintings better?