From Blake onwards, dreams often take over the whole view, with the dreamer the only link to reality. Examples from Blake, Rossetti, Hodler and others.
Are the two arms fending others off, raised in shock, surrender, or falling to earth? From light comedy to accounts of executions and war crimes.
An unusual pastel, a couple of fine nocturnes, then some reflections of figures from Caravaggio and Bonnard, concluded by coy self-portraits.
From Rubens’ double-portrait with Isabella Brant, and Rembrandt’s with Saskia, to Paul Signac’s wife with a parasol and Ferdinand Hodler’s wife Berthe Jacques.
More gorges from Edward Lear, Frederic Church, Signac, Thoma, Hodler and others, from the Alps to Iran.
A grisaille turned into a trompe l’oeil, symphonies in white, making the transition to oil paints, an exercise for pupils, and vibrant primary colours.
More anglers caught with their rods and lines in paintings by Troyon, Corot, Hodler, Carl Larsson and a surprise catch from Tom Thomson.
From Dürer and Poussin to Cézanne and Hodler, reflections have been important in many landscape paintings.
The more of less regular repetition of form to generate rhythms has long been used in figurative painting, but in the 19th century became prominent in landscapes.
From conventional composition in the early days of Impressionism, landscapes have been reduced, eventually ending up as areas of colour and texture.