A series to examine visual development of figures within narrative paintings, according to their type of plot. The fall of Icarus used as an example.
In the early 1880s, several young British artists returned from training Paris, and in 1886 formed a new club as an alternative to the Royal Society.
The significance of Alberti’s textbook on painting and simplified perspective, followed by Piero’s account of perspective, and Vasari’s new history of painting.
Paintings of the city of Florence recreating times past, from Dante’s meeting with Beatrice, to Lorenzo the Magnificent in the late 15th century.
We journey on, through Thomas Cole’s classical city, to the Garden of Armida, briefly to Paradise, past the submerged city of Ys, ending up in a Surrealist vision of the Dorset coast.
Very much a Modern Woman, she was in London during the height of the Pre-Raphaelite movement, when she painted her masterpiece of Elaine of Astolat.
Scenes from Perseus and Andromeda, and Orlando Furioso, by Veronese, Moreau, Burne-Jones, Vallotton and others.
Were they descended from survivors of the city of Troy, or perhaps they were Greeks? Did the Romans welcome or exterminate them?
Three to seven sisters who guard Hera’s golden apples in a land ‘to the west’, painted by Burne-Jones, Leighton, Turner, Sargent, and more.
From Mantegna and dancing Muses, through Rubens and Rochegrosse with the legend of Perseus, to a portrait by Odilon Redon.