One of the greatest British narrative painters of the 19th century, a small selection of his best from Eris picking a golden apple in 1806 to the slaveship of 1840.
Poussin
A Roman hero, intended to be consul, is banished because he wouldn’t get on with common people. When he can defeat Rome, who can stop him?
Reflections seen in landscapes from Dürer’s pioneering watercolour, through Poussin and Turner to Monet, Sisley and Neo-Impressionists.
Snakes and serpents in myth, legend and religion are thoroughly sinister and bad, with one curious exception. A journey across centuries of images.
Paul Bail left Antwerp, taught Tassi in Rome, who in turn taught Claude Lorrain. Claude-Joseph Vernet learned in Rome, then advised Valenciennes, and so French landscape painting came home.
Not just the cereal harvest, but here paintings of the fruit harvest, from Bassano and Poussin, with grapes, figs, apples, blackberries, to Berthe Morisot.
How the grand-daughters of the Duchess of Devonshire posed for the triple portrait and referred back to any orgiastic scene of bacchanalian revelry.
What is that princess doing dressed for a pageant, and what is happening to her swatch of carmine fabric? How billows express motion.
Should chiaroscuro paintings show much in the way of colour, given that in the dark only the rods in our retinas function, giving us monochrome vision?
How we got from one of the most senior gods, and a winged young man, to a chubby infant armed with a bow and arrow, let alone an unknown former saint.
The Eclectic Light Company 