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PHAIDO
Abramovic . Abts . Adams . Agasse . Ai Weiwei . Alt
Amigoni . Andre . Andrea del Sarto . Fra Angelico . Anc
. Arcimboldo . Arp . Atget. Audubon . Auerbach . Averc
. Fra Bartolommeo . Baselitz . Basquiat . Bassano . Bato
Beckmann . Gentile Bellini . Giovanni Bellini . Bellmer. B<
Blake . William Blake . Boccioni . Bocklin . Boetti . Boltai
. Bosch . Botero . Botticelli . Boucher . Boudin . Bourdell
Bronzino . Broodthaers . Brown . Jan Bruegel . Pieter Br
Cahun . Caillebotte . Colder. Calle . Campin . Canaletto
. Cartier-Bresson . Cassatt. Castagno . Catena . Catlin . C
Champaigne . Chardin . Chase . De Chirico . Christo & J
. Clemente . Close . Clouet. Cole . Constable . Copley .
Cragg . Cranach . Cuyp . Dali. Daubigny . Daumier . G
. Delacroix . Delaunay . Delvaux . Demand . Denis . D<
Doig . Domenichino . Donatello . Van Dongen . Dossi . [
Dumas . Durer. Van Dyck . Eakins . Eggleston . Eliasson .
Eyck . Fabritius . Fantin-Latour . Fautrier. Feininger . Flav
. Frankenthaler . Freud . Friedrich . Frink . Froment . Gc
Gentile da Fabriano . Gentileschi . Gericault. Gerome .
. Gilbert and George . Gilman . Giordano . Giorgione . <
Van Gogh . Gontcharova . Gonzalez-Torres . Gorky . G<
El Greco . Greuze . Grimshaw . Gris . Gros . Grosz . Grun
. Hammershoi. Hartung . Hassam . Hausmann . Hayter . I
. Hilliard . Hiroshige . Hirst. Hobbema . Hoch . Hockney .
Holzer . Homer . Honthorst . De Hooch . Hopper . Houd
. Jordaens . Judd . Kabakov . Kahlo . Kalf. Kandinsky . K
 . Algardi . Allston . Alma-Tadema . Altdorfer . Alys .
ola . Antonello da Messina . Appel . Araki . Archipenko
> . Bacon . Baldessari . Baldung . Balia . Balthus . Barney
Baumeister . Bazille . Beauneveu . Beccafumi . Becher .
to . Bellows . Bernini . Beuys . Bierstadt. Bingham . Peter
. Bomberg . Bonington . Bonnard . Ter Borch . Bordone
Bourgeois . Bouts . Boyd . Brancusi . Braque . Brauner .
;el . Ter Brugghen . Buren . Burne-Jones . Burra . Burri .
inova . Caravaggio . Caro . Carpaccio . Carra . Carracci
slan . Cellini. Celmins . Cezanne . Chagall. Chamberlain .
me-Claude . Church . Cimabue . Claesz . Claude Lorrain
nell . Corot . Correggio . Del Cossa . Courbet . Cozens .
rd David . Jacques-Louis David . Davis . Deacon . Degas
n . Diebenkorn . Dine . Dix . Dobson . Van Doesburg .
. Dove . Drouais . Dubuffet . Duccio . Duchamp . Dufy .
iheimer . Ensor . Epstein . Ernst. Estes . Etty . Evans . Van
Fontana . Foujita . Fouquet. Fragonard . Francis . Frank
. Gaddi . Gainsborough . Gaudier-Brzeska . Gauguin .
tier . Ghiberti . Ghirlandaio . Giacometti . Giambologna
tto . Giovanni di Paolo . Giulio Romano . Van der Goes .
ley . Gossaert . Goya . Van Goyen . Gozzoli . Graham .
ild . Guardi. Guercino . Gursky . Guston . Hals . Hamilton
kel . De Heem . Heizer. Hepworth . Heron . Hesse . Hicks
>dgkin . Hodler . Hofmann . Hogarth . Hokusai . Holbein .
Hunt . Ingres . Ivanov . Jawlensky . John . Johns . Jones
ior. Katz . Kauffmann . Kawara . Kelley . Kelly . Kertesz .
Phaidon Press Limited
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First published 1994

Reprinted 1994, 1995, 1996,
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Note

Abbreviations:

c=circa
b = born d=died
h=height w=width
l=length d=depth
diam=diameter
dur =duration

The publishers have made every

effort to include dimensions
wherever possible. As some
frescos illustrated are part of
large cycles, covering entire
rooms, the correct measurements
have been impossible to acquire
and are therefore omitted.
THE ART BOOK presents a whole new way of looking
at art. Easy to use, informative and fun, its an A-to-Z
guide to the greatest painters, photographers and sculptors
from medieval times to the present day. It debunks
art-historical classifications by throwing together brilliant
examples from all periods, schools, visions and techniques.
Only here could Carracci be seen alongside Cartier-Bresson,
Duccio be found beside Duchamp, Mondrian be considered
with Monet, or Warhol contrasted with Waterhouse.
Each artist is represented by a full-page illustration of an
exemplary work, accompanied by an illuminating text
on the piece and its creator. The entries are comprehensively
cross-referenced and glossaries of artistic movements and
technical terms are included, together with an international
directory of galleries and museums to visit. By breaking
with traditional classifications, THE ART BOOK presents
a fresh approach to art: an unparalleled visual sourcebook
and a celebration of our rich and multi-faceted cu Itu re.

The artists page 4 Glossary of technical terms page ;8o Glossary of artistic movements page 5 8 3 Directory of museums and galleries page j 87

0
 movie Marina The House with the Ocean View

In November 2002 Marina Abramovic spent twelve presence forming an integral part of the work. For the ritualizing of everyday activities. Audience partici¬
days and nights living in the Sean Kelly Gallery duration of the event Abramovic did not eat or speak. pation has also been central to her art. In one
in New York. The artist’s accommodation consisted Her self-imposed imprisonment was emphasized infamous performance of 1974 she sat passively
of three specially constructed living units built on by the presence of three ladders with rungs made from as people were invited to manipulate her body with
raised platforms. With each unit on open view, visitors upward-facing butcher knives. A pioneering figure in a selection of items, including a whip, rose, scalpel,
to the gallery were invited to watch the artist’s every the Performance art movement since the early 1970s, feather, gun and a single bullet.
move (a telescope was provided), their voyeuristic Abramovic’s work has often involved the enacting and ► Cahun, Kruger, A Piper, Rist, Sherman

Marina Abramovic b Belgrade, 1946. The House with the Ocean View. 2002. Performance at the Sean Kelly Gallery, New York, NY
 Tomma Uphe

Sculptural shapes seem to float on planes of teal colour and space, in which subde shifts of both create mind and works intuitively, often for months, on a
blue and green, their impossibly interlocking forms unexpected effects: movement, stillness, depth. Abts single canvas. Like the American painter Jasper Johns,
silhouetted by shadow, highlights and line. Like was born in Germany, and the titles of her works she is interested in a painting as both image and object,
all of Abts’s work, this painting is determinedly non- derive from German first names. She creates small representing nothing but itself.
representational. Its strict geometries do not symbolize canvases, always the same size, using a labour-intensive
or describe anything else, nor are we given any hint technique in which thin layers of paint are laid like
of emotion or information. It is an exploration of strata, over-painted again and again as she changes her ► Hayter, Johns, Marden, Noland, Popova

Tomma Abts. b Keil, 1967. Uphe. 2011. Acrylic and oil on canvas. h48 * w38cm. hi 8% * wl5 in. Private collection
Adams Ansel View South from Manzanar to Alabama Hills

In 1943 Ansel Adams visited the internment camp for suffering and joy, have no place. His Manzanar photo¬ transient moment in a chaotic world of light and
Americans of Japanese descent in Manzanar, California. graphs refute that accusation — in addition to his shadow, he produced images that are almost abstract
Mosdy he documented its residents and their life portraits of internees and documentation of camp in their graphic boldness, blending emotion with
there, but he also photographed the landscape of the activities, his empty landscapes reveal a subtext rigorous artistic discipline and technical precision.
central California site. The most popular photographer of human injustice and despair. A key achievement of
in America, Adams was sometimes criticized for his Adams’s work was to reconcile landscape photography
‘inhumane’ work, in which people, with their messy with twentieth-century Modernism. Capturing a ► Atget, Cartier-Bresson, Le Gray, Spilliaert, Steichen

Ansel Adams, b San Francisco, CA, 1902. d Carmel, CA, 1984. View South from Manzanar to Alabama Hills. 1943. Gelatin silver print, hi 8.5 * w23.4 cm. h7!4 * w9Vi in. Library of Congress, Washington, DC
Agasse Jacques-Laurent The Nubian Giraffe

A giraffe leans its long, slender neck to reach the landowners and Agasse, being renowned for his acute England from 1800 where he achieved considerable
bowl held by its Arab keepers. Two Egyptian cows attention to detail, was often commissioned to paint success painting sporting scenes and exotic animals.
can be seen in the background. With the development them. King George IV paid Agasse £zoo for ‘a picture He also painted a number of portraits of noblemen
of communication links, traders of the early of the Giraffe and Keepers’. The gentleman depicted on horseback.
nineteenth century were able to travel further and wearing a top hat is Edward Cross, a well-known
further afield and return with increasingly exotic gifts. importer of foreign birds and animals for the royal
Giraffes, lions and leopards were given to wealthy menagerie. Born in Switzerland, Agasse lived in ► Audubon, Landseer, Longhi, Stubbs

Jacques-Laurent Agasse. b Geneva, 1767. d London, 1849, The Nubian Giraffe. 1827. Oil on canvas. hl27 * wlOl.5 cm. h50'/s * w40 in. The Royal Collection, Windsor Castle, Windsor
 Weiwei Template

In 2007 Ai Weiwei’s monumental sculpture was the artist announced that the sculpture was now Rauschenberg and Johns, his modification of found
unveiled at documenta 12, a large contemporary art more beautiful than before. During the exhibition he objects raises subtle questions relating to changing
event held every five years in Kassel, Germany. also arranged for i,ooi people — farmers, street vendors, cultural and financial values in the globalized world.
Shordy after its installation the work — constructed of students — to travel to the German town from his
wooden doors and windows salvaged from destroyed native China. Well known for his political views,
Ming and Qing dynasty houses — was knocked over Ai Weiwei is considered to be one of the world’s most
by a strong wind. Appreciative of nature’s intervention, powerful artists. Inspired by the work of Duchamp, ► Alys, Deacon, Duchamp, Perry, Rauschenberg, Zhang Huan

Ai Weiwei b Beijing, 1957 Template. 2007. Wooden doors and windows from destroyed Ming and Qing dynasty houses. h422 * wl 106 cm. hi 1614 * w435’/2 in. As installed at documenta 12, Kassel
Albers Josef Homage to the Square

Four squares of yellow nest together. Despite a rigid picture means it is related to the Op Art movement. at the Black Mountain College and Yale University.
format, they float freely, creating an optical illusion Yet the way the paint has been applied and the use His influential book The Interaction of Color was
of another dimension. Each area has been painted in of colour link it with the Post-Painterly Abstraction published in 1963. In this he explores the perception
a single colour. The paint has been applied with a knife, movement. Between 1920 and 1923 Albers studied of colour, which was a dominant theme throughout
direcdy from the tube. Albers’ most famous series of at the famous Bauhaus school. He joined the staff his life.
paintings, of which this is one, shows squares created in 1923. A Dutchman by birth, Albers moved to the
from pure colour. The optical illusion created in this USA in 1933, where he taught many established artists ► Andre, Van Doesburg, Kelly, Klee, Reinhardt, Vasarely
Algardi Alessandro Bust of Cardinal Paolo Emilio Zacchia

The cardinal’s fine robes, lace cuffs and distinctive before making a final version in the more expensive in Rome. One of the century’s foremost Italian
moustache and beard tell the viewer immediately that medium of marble. Although an artist of the sculptors, Algardi was commissioned to make many
this is a distinguished individual. The marble portrait Baroque period, Algardi’s style is more reserved important works while in Rome, including the
has a spark of life that shows Algardi’s close obser¬ than the flamboyant approach of his contemporary tomb of Leo XI in St Peter’s and a bronze statue
vation of the cardinal’s features. As was customary Gianlorenzo Bernini. This may be because he trained of Innocent X.
at the time, Algardi originally sculpted this bust in Bologna under the painter Lodovico Carracci
in terracotta. This would have been used as a study (the cousin of Annibale) before embarking on a career ► Bacon, Bernini, Carracci, Houdon, Manzu

Alessandro Algardi. b Bologna, 1595. d Rome, 1654. Bust of Cardinal Paolo Emilio Zacchia. cl625/30. Marble, hi21 cm. h47%in. Museo Nazionaledel Borgello, Florence
 Washington Landscape with a Lake

A path with a figure by a lake leads the viewer into he studied in London (where he was a pupil of John Martin. Allston’s portraits and canvases
a stark landscape that has a haunting sense of his compatriot Benjamin West) and Rome. His early on scriptural themes won him great acclaim,
emptiness. The plants in the foreground, the trees landscape paintings were directly inspired by the while the poetry he wrote was somewhat less
and gnarled trunks are all carefully rendered in great French artist Claude, who was much admired enthusiastically received.
detail. Allston was the greatest of North America’s in England at the time. However, he soon developed
Romantic painters. His landscapes glorify the natural a more sublime, melodramatic conception of the
wonders of the New World. As a young man landscape in the manner of J M W Turner and ► Bierstadt, Claude, Cozens, Hodler, Martin, West, Turner

with a Lake. 1804. Oil on canvas. h96.5 * wl 30.2 cm. h38 x w51'A in. Museum of Fine Arts, Boston, MA
Washington Allston. b Charleston, SC, 1779. d Cambridge, MA, 1843. Landscape
Alma-Tadema Sir Lawrence A Coign of Vantage

Three Roman women watch the return of galleys A Dutch painter who moved to England in 1870, Alma-Tadema was commissioned for theatre designs,
from a corner, or ‘coign’. This charming work conveys Alma-Tadema had a successful career and was lavished in particular Sir Henry Irving’s 1901 production
a sense both of height and of warm sunlight. The with personal and professional honours in his lifetime. of Coriolanus at the Lyceum Theatre in London.
fabric of the women’s clothes, the marble ledge and His Neo-Classical portrayals of ancient Roman,. Greek
the bronze beast are all rendered in great detail. In the and Egyptian life were highly popular with Victorian
handling of the women and the sea far below, the artist society. They also showed the artist’s knowledge of
shows his great skill with complicated perspective. archaeology and social history. On several occasions ► Carpaccio, Gerome, Leighton, Poussin, Waterhouse

Sir Lawrence Alma-Todema. b Drontyp, 1836. d Wiesbaden, 1912. A Coign of Vantage. 1895. Oil on canvas. h64.2 x w45 cm. h25'A x wl73A in. Private collection
Altdorfer Albrecht Battle of Alexander at Issus

A sweeping Alpine landscape dominates this the left of the scene) at the Battle of Issus in 333 bc. encountered there no doubt confirmed his inclination
dramatic painting, emphasizing the enormous scale The representation draws comparison between towards the landscape. He produced a large number
of the swirling batde taking place in the lower half. this great historical victory and contemporary battles of drawings and engravings, many of them depicting
A monumental panel floats high above the soldiers, of Altdorfer’s day. The action itself is shown in vivid landscape without any narrative.
informing the viewer that Alexander the Great detail with hundreds of individual figures depicted.
has gained a decisive victory over King Darius III Altdorfer is known to have taken a tour of the Danube
of Persia (who can be seen fleeing in his chariot to and the Austrian Alps in 1511, and the scenery he ► Dossi, Durer, Leonardo, Patinir, Uccello

Albrecht Altdorfer, b Regensburg, c!480. d Regensburg, 1538. Battle of Alexander at Issus. 1529. Oil on panel. h!58.4 * w120.3 cm. h62% * w473/s in. Alte Pinakothek, Munich
 Francis Paradox of Praxis I (Sometimes Doing Something Leads to Nothing)

These film-stills capture moments from the artist’s 1986, and since then has produced a number of works Moves Mountains (2002), the artist enlisted five hundred
nine-hour journey pushing a block of ice through the commenting on the country’s economic and cultural volunteers to move, shovel by shovel, a complete
streets of Mexico City. As the melting ice becomes situation. The arduous but essentially futile act sand dune near Lima, Peru. Alys documents his
lighter, the decreasing size of the block appears of pushing a block of ice through the hot streets performances in a variety of media, including video,
to add to the awkwardness of the task. Eventually acknowledges the daily routines of the city’s poorest photography, painting, animation and writing.
Alys resorts to kicking the ice as he walks along. paid workers; moving goods from place to place
The Belgian-born artist moved to Mexico City in with little reward. In a more recent work, When Faith ► Abramovic, Ai Weiwei, Matta-Clark, Rist

Francis Alys. b Antwerp, 1959, Paradox of Praxis I (Sometimes Doing Something Leads to Nothing). 1997. Video with sound. dur5 min. Private collection
Amigoni Jacopo Juno Receives the Head of Argus

Juno, the wife of Zeus, asked the hundred-eyed giant graceful lines of the painting are typically Rococo. In England he painted decorations for Covent Garden
Argus to watch over Io, whom she righdy suspected Amigoni was a fashionable and successful painter of and Moor Park. Thereafter he lived comfortably
of being her husband’s lover. Argus was murdered portraits and of historical scenes. Like many Rococo by painting elegant portraits of the royal family and
at Zeus’ command by Mercury. Juno set the giant’s artists, he worked all over Europe, particularly in of nobility.
eyes into the tail of her peacock in his memory. England. It was probably he who, upon returning
The picture here shows Juno receiving the head to Venice after a highly profitable trip to London,
of Argus. The soft, sensual style, light colours and persuaded Canaletto to travel to England in 1746. ► Boucher, Fragonard, Gentileschi, Luini, Tiepolo

Jacopo Amigoni. b Venice, c!685. d Madrid, 1752. Juno Receives the Head of Argus. c!730. Oil on canvas. h396.2 * W304.8 cm. h!56 * w!20 in. Moor Park, Rickmansworth
 Andre cari Zinc Magnesium Plain

Thirty-six industrially produced square plates of pure stand upright in space like traditional sculpture; they groups of bricks, styrofoam planks and cement blocks,
magnesium and zinc have been alternately placed flat are not crying out to be seen, but merge with the floor extending them horizontally on the floor. The config¬
on the floor. Contrary to the traditional concept of to be trodden on and walked over. Originally influenced urations of these identical shapes are determined
sculpture, these separate parts are not bound together by the work of Frank Stella and Constantin Brancusi, by simple mathematical principles.
in any way; each can be picked up and interchanged from i960 to 1964 Andre worked on the Pennsylvania
with another. Nor are they built up to create a vertical Railway, which involved using standardized, inter¬
structure; they simply sit on the ground. They do not changeable units. From the mid-1960s he assembled ►Albers, Brancusi, Judd, LeWitt, Long, Serra, Stella

Carl Andre b Quincy, MA, 1935. Zinc Magnesium Plain. 1969. Zinc and magnesium, hi 82.9 x W182.9 cm. h72 x w72 in. Baltimore Museum of Art, Baltimore, MD
Andrea del Sarto Madonna of the Harpies

In one of the best-known works by this Renaissance The harpies on the pedestal may represent the Virgin’s however, damned him with faint praise by writing that
painter, the Virgin and Child stand on a pedestal, triumph over evil, as described in the Revelations of his technical perfection was blighted by his lack of
with two putti grasping the Virgin’s knees. On the left St John. Andrea del Sarto was the leading Florentine spirit. Nevertheless, Andrea del Sarto was highly influ¬
St Francis (patron saint of the convent of San painter of the early sixteenth century, he combined ential, and his practice of making preparatory drawings
Francesco dei Macci, who commissioned the painting) Leonardo’s sfumato technique with a richer range of before a painting became standard for later artists.
looks at us over his shoulder, while St John the colours in works that deeply impressed his contempor¬
Evangelist glances up from his writing at the right. aries, from Michelangelo to Pontormo. Giorgio Vasari, ► Fra Bartolommeo, Leonardo, Perugino, Piero di Cosimo, Pontormo

Andrea del Sarto, b Florence, 1486. d Florence, 1530. Madonna of the Harpies. 1517. Oil on panel. h208 * wl78 cm. h81% x w70 in. Galleria degli Uffizi, Florence
 Fra Angelico The Annunciation

The Archangel Gabriel tells the Virgin Mary that she is On the left, St Peter the Martyr prays as he watches lifetime, he earned the nickname Angelico (‘Angelic’)
to give birth to the Son of God. Calmness, order and the scene; he is included in the picture to encourage from his visionary, harmonious paintings on many
simplicity are the outstanding features of this painting. the viewer to contemplate the Annunciation as Christian themes. He died while painting a private
Mary kneels and bows her head as she humbly accepts he is doing. Fra Angelico’s powerful and simplified chapel at the Vatican.
Gabriel’s message. The fresco is painted on a cell forms and his sensitive treatment of light and colour
wall in the monastery of San Marco where Angelico are indicative of the recent developments in
was a friar. (He became a Dominican monk in 1407.) Florentine art. A celebrated religious painter in his ► Martini, Piero della Francesca, Tintoretto

Fra Angelico (Guido di Pietro) b Vicchiodi Mugello, cl 387. d Rome, 1455. The Annunciation, cl 441-3. Fresco, hi 87 x wl57cm. h73% x w61% in. Museo di San Marco, Florence
Anguissola Sofonisba Self-portrait

The artist has portrayed herself as an honest and of Alba in Spain drew her to the attention of All of these have a special tenderness, as well as a
devout woman: she looks at us with a frank gaze the Spanish Court, and she went on to become Court direct approach. Towards the end of her life the young
as she fingers the cross around her neck. Anguissola painter and lady-in-waiting to the Spanish Queen. Anthony van Dyck became her friend, and painted her
was a leading portraitist in Genoa and Palermo — A letter from the Queen of Spain said of Anguissola likeness as an old woman.
an extraordinary feat for a woman in the sixteenth that she was ‘an excellent painter of portraits, above
century. Of noble birth, Anguissola began a three-year all the painters of this time’. Anguissola painted
apprenticeship when she was quite young. The Duke numerous self-portraits and portraits of her family. ► Van Dyck, Ramsay, Sittow, Verrocchio, Vigee-lebrun

Sofonisba Anguissola b Cremona, c!532. d Palermo, 1625. Self-portrait. c!600. Oil on canvas. h22 * wl7 cm. h8% « w6% in. Private collection
 Antonello da Messina Saint Jerome in his Study

Stealing a look through the open window of the windowsill and the quality of the light are remin¬ and then brought the ‘secret’ method to Italy.
St Jerome’s study, the viewer sees the saint absorbed iscent of the intense realism of paintings by Robert More likely, Antonello was influenced by Flemish
in his reading. Only the lion on the right pauses Campin and Jan van Eyck. There is no proof that artists in Milan. In 1475—6 he was in Venice,
in his tracks to acknowledge the outside world. It is Antonello ever left Italy, but he seems to have been where his innovative technique greatly influenced
possible that Antonello was influenced by aspects familiar with the techniques of the Netherlandish Giovanni Bellini.
of Netherlandish painting; details such as the objects masters. Several authorities believe he was taught oil
on the shelves, the tiled floor, the birds perched on painting techniques by the master Van Eyck himself, ► Giovanni Bellini, Campin, Van Eyck, Patinir, Reni

Antonello da Messina. Active 1456. d Messina, 1479. Saint Jerome in his Study. cl475-6. Oil on panel. h46 * w36.5cm. hi 8 x wl4'/4 in. National Gallery, London
Appel Karel Phantom with Mask

The < cntra) figure fixes bis. eyes and Seeds cm the expressed through slashes of wild colour, with savage, to children’s paintings and mythological tales for its
viewer with a demonic expression. Thepaint is.applied challenging subjects. The painting is a representative inspiration. Appel lived in New York, where he
with characteristic force in ihtck, sweeping strokes, example of the work of the Cobra movement, which continued to paint exuberant, representative images
creating a harsh and bruta) image — but there is also was formed in 1948 by a group of artists from in dazzlingly lurid colours.
humour, and a childlike quality, Appel found the very Copenhagen, Brussels and Amsterdam. Cobra rejected
siri of applying paint a liberating^ aJrwcws sensual the abstraction of post-war European painting, consid¬
experience. I le delighted in combining raw energy. ering it lifeless and too passive. Instead, it turned ► Baselitz, Dubuffet, De Kooning, Pollock

Karol Appel, b Amsterdam, 1921. d Zorich, 200b. Phantom with Mask. 1952. 011 on canvas. hll6* w89 cm. h45% * w35 in. Private collection
 Araki Nobuyoshi Yoko (from Sentimental Journey)

With her eyes closed, seemingly sleeping, a young Journey, a privately published book that recorded the It is in relation to the latter, in particular his ‘Kinbaku’
woman lies before us in a foetal position. Although couple’s honeymoon. Thirty years later the artist series, which explores the Japanese art of bondage,
the composition of the image is somewhat awkward, published Winter Journey, this time including photo¬ that his art has received a degree of notoriety.
this is an intimate moment captured by Araki of graphs that captured Yoko’s life in the period leading
his recent bride Yoko. Part of the artist’s ongoing up to her death from a terminal illness in 1990. In his
autobiographical documentation — or ‘i-photography’ — photographs Araki repeatedly captures the mundane,
in 1971 the photograph was included in Sentimental such as meals that he has eaten, as well as the erotic. ► Cartier-Bresson, Evans, Kertesz, Utamaro

Nobuyoshi Araki. b Tokyo, 1940. Yoko (from Sentimental Journey). 1971. Gelatin silver print. h!6.4 x wl2.1 cm. h6Vi x w434 in. Private collection
Archipenko Alexander Walking

At first glance this sculpture seems to be abstract. Western sculpture to introduce such concepts of method of fragmenting the subject, portraying a

Looking closer, it is possible to see a walking woman, construction, representing a radical departure from number of views of the same object simultaneously.

who has been made out of bronze with a green the Classical tradition. Archipenko was associated with Archipenko developed his sculptural techniques
surface. Archipenko created the figure by using gaps the Cubist movement, which challenged and redefined further by mixing together different materials.
and by hollowing out sections. Her head, for example, the traditional approach to portraying the human
is made from the space created by the bronze around form. His use of holes and spaces to create a new way
it. This is possibly the first work in the history of of looking at the human figure paralleled the Cubists’ ► Braque, Giacometti, Lipchitz, Picasso

Alexander Archipenko, b Kiev, 1887. d New York, NY, 1964. Walking. 1912. Bronze. h67.3 cm. h26'/2 in. Private collection
Arcimboldo Giuseppe Summer

Up close, this painting looks like a greengrocer’s tools to create his weird images. His most important paintings were looked upon as slightly silly, although
dream. Moving away from the picture, a human head works were painted in Prague, where he was employed they were imitated often enough. It was not until
emerges. It has been made entirely of the fruits and by a series of Hapsburg emperors. Arcimboldo had the Surrealists recognized a fellow artist who loved
vegetables of summer - pears, peaches, cherries other courtly duties besides painting, such as designing visual puns that he became popular.
and plums can all be found. While he often used fruits decorations for festivities, purchasing works of art
and vegetables to create his portraits, Arcimboldo for the Emperor’s collection and, strangely enough,
was also known to use pots, pans and even workmen’s designing and constructing waterworks. Arcimboldo’s ► Dali, De Heem, Koons, Magritte
Arp Jean Leaves and Navels, I

Small circular forms punctuate the stillness of characterized by its use of sensuous sculptural shapes infamous ‘happenings’ at the Cabaret Voltaire.
this work, the shadows of their shapes in relief recalling organic forms, which are highly poetic and In his quest for a spontaneous, elementary art he
distinguishing them from the white painted wood suggestive in their delicacy. He was intimately involved wrote poetry, created collages, made wood reliefs
background. They are arranged in a harmonious with several of the major art movements of the first (such as the one shown here) and experimented with
pattern with no logical order, evoking the fluttering half of the twentieth century, particularly the Dada automatic writing.
of leaves in the wind or the natural randomness movement. The Zurich Dadaists were formed in 1916
of drops of rain falling on glass. Arp’s work is and Arp participated in many of their riotous and ► Cornell, Hepworth, Mondrian, Schwitters

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Jean Arp. b Strasbourg, 1886. d Basel, 1966. Leaves and Navels, I. 1930. Painted wood. hlOl x w81 cm. h39% x w31% in. Museum of Modem Art, New York, NY
 Eugene Saint-Cloud

In this photograph of the large pond at Saint-Cloud, composition, peopled only by frozen statues, is began to produce photographs imbued with an
outside Paris, the conventional solidity of lawns, beautifully eerie. Atget began making documentary existential mood and metaphorical power that set them
trees and stone sculpture is transformed into an almost photographs of Old Paris in his middle age, eventually apart from his earlier work. It was this sense of elegiac
surreal illusion of surface and void, silhouette and compiling a vast collection of saleable visual references disquiet and strange uncanniness that so appealed
space. The vast trees billow like symmetrical clouds, for painters, designers and craftsmen. The most to Surrealists such as Man Ray and Jean Cocteau, who
starkly highlighting the white marble statues important feature of his images of street scenes, archi¬ championed Atget’s work.
silhouetted against them. The atmosphere of the still tecture and parks was clarity. From 1914, however, he ► Evans, Man Ray, Sander, Sfeichen

Eugene Atget, b Liboume, 1857. d Paris, 1927. Saint-Cloud. 1920. Gelatin silver print. hl6.7 x W21.5 cm. h6'/2 x w8'/2 in. George Eastman House, Rochester, NY
Audubon John James Roseate Spoonbill

From its odd, spoon-shaped bill to each feather, Neo-Classicist Jacques-Louis David. He coupled of art and an important scientific document.
this bird has been depicted with immense care. his skills as a painter with a passion for ornithology He spent the last seven years of his life compiling
Audubon’s desire to classify the birds he observed to create a practical use for his training. Even though a companion volume, The Quadrupeds of America,
in North America, coupled with careful scientific the book on birds concentrated on North America, which also combines exquisite illustrative skills with
research, resulted in the splendidly illustrated book Audubon had to travel to Britain to find funding naturalistic knowledge.
Birds of America which included 43 5 plates. Audubon for his work. Ultimately it was published in America
trained to be a painter alongside the famous French and Britain, and remains both a beautiful work ► Agasse, Catlin, J-L David, Stubbs

.. h64.7» w95.2 cm. h25'/2 * w37'/2 in. From The Birds of America, 1835-8, VoU
John James Audubon, b LesCayes, Haiti, 1785. d New York, NY, 1851. Roseate Spoonbill. 1835-8. Engraving on paper.
 Auerbach Frank J Y M Seated in the Studio VI

The surface of this picture, which is a portrait of one invite the viewer into a world of squashy movement, to work with great discipline, regularly from morning
of the artist’s regular sitters, looks like wet newspapers as thick and sensuous as peanut butter. Auerbach till night, every day. His studio has remained
compressed into ridges and gullies. Auerbach is is a member of the School of London, but uses paint unchanged since 1954, when he inherited it from
well known for his technique. Brushfuls of paint are in a different way to the others in this loose grouping his friend Leon Kossoff.
dragged in violent swirls across the picture surface, of artists. He adds thick layers and then scrapes
creating arms and eyes, legs and cheeks. These are them back, creating the subject through his manipu¬
not restful, comfortable works to look at; instead they lation of the paint and the surface. Auerbach is known ► Bacon, Kitaj, De Kooning, Kossoff, Sutherland

Frank Auerbach, b Berlin, 1931. J Y M Seated in the Studio VI. 1988. Oil on canvas. h55.9 * w50.8 cm. h22 x w20 in. Private collection
Avercamp Hendrick A Scene on the Ice Near a Town

An entire town full of people seems to be enjoying anecdotal quality of his minutely detailed paintings.) to those of Jan Bruegel, and his careful observation

itself on a frozen lake. The picture wonderfully evokes Seventeenth-century Holland witnessed a rise in of lighting effects made his paintings highly prized.

the chilly skies of a northern winter. The attention to the middle classes and a decline in church patronage He was also one of the originators of realist landscape

detail in many of the figures, such as the woman with because of Protestant reform. This led to painters painting in seventeenth-century Holland.

her red sash at the lower left, brings the scene to life, specializing in small-scale easel paintings for the new
giving it a joyful feeling. (It is said that Avercamp market of private collectors. Avercamp was well
was deaf, hence his acute visual sense and the almost known for his wintery scenes, which are similar in style ► J Bruegel, Cuyp, Von Goyen, Lowry, Raeburn, Ruisdael

A"* _ i.

1634. A Scene on the Ice Near a Town. c!615. Oil on panel. h58 * w90 cm. h22% * w35'/2 in. National Gallery, London
Hendrick Avercamp. b Amsterdam, 1585. d Amsterdam,
Bacon Francis Study after Velazquez's Portrait of Pope Innocent X

This terrifying image, based on Diego Velazquez’s and subject matter were often based on real or been likened to those of the artist Graham Sutherland,
famous portrait, depicts the tortured expression traditional images — Old Master paintings, newspaper Bacon progressed to develop his own particular
of a blood-spattered Pope, imprisoned in a tubular photographs, film stills or X-rays, for instance - his idiom, remaining best known for his often horrific
construction resembling an unpadded throne. treatment of them is shockingly perverse. As in this distortions of the human form.
The background, painted in dramatic vertical strokes, painting, he highlighted the distasteful, and sometimes
cruelly blurs out the screaming figure as he sits the disgusting, depths of the human psyche with
helplessly with clenched fists. While Bacon’s sources nightmarish intensity. Although his early works have ► Bosch, Manzu, Soutine, Sutherland, Velazquez
Baldessari John The Pencil Story

This iconic work by the Conceptual artist John a narrative around the work. By magnifying the called The Cremation Project, which announced his
Baldessari not only expresses his mischievous and importance of this mundane object, and constructing transition to text-based art and photography.
subversive sense of humour, but also as his lifelong a story around it, the artist forces us to look at the Blending influences from Dada, Surrealism, Pop and

interest in language and his curiosity about the world — not just at the pencil — differently, or, as Conceptual art, his subsequent works explored the
potential significance of everyday things. Two photo¬ he said, to ‘look between things rather than at things’. interrelationships between language and visual art,

graphs of a pencil, first dull, and then sharp, are Baldessari began his career as a painter, but in 1970 always interrogating the nature of art itself.
presented above a handwritten caption that creates he burned most of his canvases in a performance ► Cornell, Duchamp, Gonzalez-Torres, Kawara, Wool

/ HAP THIS OLD PENCIL Oh/ THE CMSHBOARD CP Mi CAR FOR A

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John Baldessari. b National City, CA, 1931. The Pencil Story. 1972-3. Colour photographs and coloured pencil on board. h55.9 * W69.2 cm. h22 * W27jh in. Private collection
 Baldung Hans The Three Ages of Man and Death

These four figures are an allegory of the three ages of Albrecht Diirer, Baldung was both a painter and a panels over the altar at Freiburg Cathedral, which he
man. Death is portrayed as a skeleton holding an printmaker. He created many fanciful engravings, made in 1516. He died in Strasbourg, a wealthy and
hourglass. Around him are a sleeping baby (infancy), and also designed stained glass and illustrated books. influential member of the community.
a youthful maiden (youth) and a haggard old woman Like Hieronymus Bosch, Baldung was one of a
(old age). Baldung was a productive draughtsman, group of artists that expressed the terror and suffering
and the realism of the bodies in this picture shows of their times through the use of fantasy. One of
that he studied the nude figure closely. Like his teacher Baldung’s most important commissions was for the ► Bosch, Cranach, Diirer, Ribera

Hans Baldung. b Schwabisch-Gmund,cl484. d Strasbourg, 1545. The Three Ages of Man and Death. 1539. Oil on panel. hl51 * w61 cm. h59'/2 * w24 in. Museo del Prado, Madrid
 Giacomo Flight of the Swallows

A flock of swallows swirl and dive outside the artist’s 1912 to 1913. The picture is a good example of movement by presenting the same form over and over

window. Balia has recreated their speed and movement the work of the Italian Futurists, who were primarily again, like the stills from a video tape. From 1931 Balia
by placing them in precise sequence, one after another. concerned with depicting motion as a symbol for moved away from this style of painting, and developed
He appears to have included the rigidity of the the dynamism of the modern world. Balia publicly a more figurative approach.
shutters to contrast their motionlessness with the birds’ declared his affiliation to the Futurist movement
continuous movement. Balia painted a series of in March 1910. With Gino Severini, Umberto Boccioni
swallow paintings during a visit to Diisseldorf from and Carlo Carra he developed the notion of depicting ► Boccioni, Carra, Catlin, Feininger, Gris, Severini

h50.8 x w76.2 cm. h20 * w30 in. Museum of Modern Art, New York, NY
Giacomo Balia, b Turin, 1871. d Rome, 1958. Flight of the Swallows. 1913. Tempera on papei
 Balthus Girl and Cat

A simple scene presents itself: an adolescent girl sits childhood, portrayed by the cat, is pushed aside particularly for erotically charged paintings such as this,
in a stark and gloomy interior, a contented cat at her by the new, sexual feelings of adulthood. This is featuring young girls sleeping, daydreaming or reading
feet. Yet the image is somehow disturbing, perhaps emphasized by the fact that the only light in the within a darkened interior.
because of its erotic overtones: are we looking at an picture is directed at the girl’s thighs. Although Balthus
innocent girl, or a sexually sophisticated young woman? received no formal art training, he studied the Old
In fact, what Balthus has captured is the disturbing Masters extensively and was encouraged by such artists
quality of adolescence, when the innocence of as Pierre Bonnard and Andre Derain. He is known ► Bonnard, Derain, Foujita, Rego, Schiele, Sherman

Balthus (Balthazar Klossowski de

Rola). b Paris, 1908. d La Rossiniere, 2001. Girl and Cat. 1937. Oil on panel. h88 » w78cm. h34'/2 * w30% in. Private collection
Barney Matthew Cremaster 4

In these images we are introduced to a number of the where the film is set. The androgynous character in function of which in the human body is to raise and
fantastical characters from Matthew Barney’s film the centre is one of three fairies that accompany the lower the testes as a protective response to changes
Cremaster 4. The figure on the left — played by Barney — Loughton Candidate on his journey. Although themat¬ in temperature. Although a coherent narrative remains
is the Loughton Candidate. As he combs his hair ically the penultimate episode in Barney’s epic series, allusive, themes of biological change and sexual
a socket is revealed, one of four that will eventually Cremaster 4 was the first of the films to be made, development resurface throughout the series.
grow into the horns of the Loughton Ram - shown on the last, Cremaster 3, appeared in 2002. The title of
the right - an ancient breed native to the Isle of Man, the series is derived from the cremaster muscle, the ► Abramovic, Beuys, Hesse, Sherman

Matthew Barney, b San Francisco, CA, 1967. Cremaster 4. 1994. Video with sound. dur42min. Private collection
 Fra Bartolommeo Resurrected Christ with Saints

The billowing drapery, the raised arm of Christ, of the charismatic and controversial Dominican them sinful. A friend of Michelangelo and Raphael,
the pointing arms and turned heads contribute to priest Savonarola — so much so that he entered the Fra Bartolommeo studied the works of Leonardo
the overwhelming sense of movement in this painting. Dominican Order when Savonarola was burnt da Vinci and created brilliantly vivid paintings
The powerful figure of Christ dominates the com¬ at the stake in 1498. At this point he took the name on religious subjects.
position, inspiring worship and contemplation in the Fra Bartolommeo — before this he was known as
viewer. Fra Bartolommeo studied painting in Florence. Fra Baccio della Porta — and allegedly destroyed all his
Here he was profoundly influenced by the preaching paintings and drawings of the nude figure, considering ► Carracci, Leonardo, Michelangelo, Raphael

Fra Bartolommeo (Baccio della Porta), b Florence, cl474. d Florence, c!517. Resurrected Christ with Saints. 1516. Oil on canvas. h284 x w204cm. hi 11% x w80'4in. Palazzo Pitti, Florence
Baselitz Georg More Blondes

Harsh finger and brushstrokes have been used no distracting detail. This avant-garde artist likes daubs with red pigment. Baselitz’s work is aggressive

to depict this upside-down female nude, imprisoned to paint theatrical sets with a shouting or gesticulating and expressive to the extent that one of his paintings

by a heavy black border. The strong impact of the figure which is repeated from canvas to canvas. He was seized by the public prosecutor who claimed

thick black paint was achieved by the artist actually paints violent and distinctive images with topsy-turvy that it might ‘arouse sexual desire among certain kinds

walking on the canvas. Baselitz has portrayed figures and colourful and liberated brushwork. He also of viewers’.
the woman crudely, without compassion or subtlety. makes sculpture by fiercely cutting away at a massive
Muted in colour, her image is stark and simple, with chunk of wood leaving a hacked figure, which he often ► Fautrier, Van Gogh, Kiefer, De Kooning, Polke

r. hi62 X wl30 cm. h63% x w51'/e in. Anthony d’Offay Gallery, London
Georg Baselitz, b Deutschbaselitz, 1938. More Blondes. 1992. Oil on canvas.
 Basquiat Jean-Michel Untitled

Crudely drawn figures, handwritten phrases and culture and reflecting the fast-moving, chaotic reality was rapidly established and rose with meteoric speed —
scientific formulae are jumbled together on a multi¬ of the city’s street life through a series of disconnected fuelled by the art boom of the 1980s — until his death
coloured background, forming a visual cacophony of images and written fragments. Basquiat was part of from a drugs overdose at the age of twenty-eight.
colour and shapes. The primitive and childlike images a loosely associated group of so-called graffiti artists,
reflect Basquiat’s links with graffiti art. The painting some of whom worked in New York’s subways, and
seems to be a distillation of the New York underworld indeed he started his own short-lived career by daubing
of the artist’s roots, evoking its multi-ethnic, hip-hop graffiti on public walls. His international reputation ► Dubuffet, Gaudier-Brzeska, Rauschenberg, Twombly

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Bassano Jacopo The Animals Entering the Ark

Two by two, Noah and his family usher a crowd must have studied all kinds of animals — dogs, cats with the vibrant figures of central Italian masters such

of animals on to the Ark before the break of dawn. and even turkeys. A prolific draughtsman, Bassano as Francesco Salviati. All four of Bassano’s sons

The boat is not an important part of the picture, as often used bright chalks to help him in designing his followed in their father’s footsteps, although only one

the artist shows only its side and door. Instead, he has colourful paintings. His early works appear somewhat of them, Francesco, achieved distinction as a painter.

focused on the parade of wonderful beasts. They provincial, but over the years his style evolved into
almost spring off the canvas, so real and alive do they a sophisticated synthesis of the colouring of Venetian
masters such as Tintoretto and Veronese, coupled ► Hicks, Salviati, Savery, Tintoretto, Veronese
seem. To create this wonderful menagerie, Bassano

1592. The Animals Entering the Ark. c!590. Oil an canvas. h207 * w265 cm. hSl'/e * wl04% in. Musea del Prada, Madrid
Jacopo Bassano (Jacopo da Ponte), b Bassano del Grappa, c!510. d Bassano del Grappa,
 Batoni Pompeo Thomas William Coke

A sumptuous silk suit, trimmed with lace and bows on the traditional Grand Tour of the European portraits a ‘must’ to bring home as a souvenir from
and topped by a fur cape, makes up the exquisite outfit continent. Batoni himself was one of the most wealthy the Grand Tour. Batoni was curator of the Pope’s
worn by the man in this portrait. The statue of Venus, and successful painters of the eighteenth-century collection of art, and his house became a centre of
the colonnade and the broken pediment give the Roman school of painting, and many of his commis¬ artistic, intellectual and social debate.
viewer clues that the setting is Rome. Thomas Coke sions were from eminent foreigners. He was best
was the quintessential eighteenth-century wealthy known for his smooth portraits of popes, monarchs
gentleman, who completed his education by going and the British upper classes. The latter considered his ► Dobson, Hilliard, Kneller, Moroni

Pompeo Batoni. b Lucca, 1708. d Rome, 1787. Thomas William Coke. 1774. Oil on canvas. h245.8 * wl70.3 cm. h96% x w67in. Holkham Hall, Norfolk
Baumeister Willi Mortaruru with Red Overhead

Large egg-shaped blots of colour appear on the surface early works were influenced by Fernand Leger and Das Unbekannte in der Kunst (“The Unknown in Art’).

of this picture. Their relationship to each other — both others, but he went on to develop a personal form of His paintings are not entirely subjectless, but

formalistically and colouristically — is unclear, creating expression that has been termed ‘abstract Surrealism’. are intended as representations of ‘other’ realities.

a disjointed feeling of tension and uneasiness. The He was much concerned with the philosophy of
small appendages are connected to the parent blocks art, believing that freely imagined forms could provide
with delicate, fragile lines that make them seem like images relating to the deeper, primitive roots of
humanity — ideas which he set out in his 1947 book ► Arp, Dali, Heron, Leger, Matisse, Miro
mathematically induced organic growths. Baumeister’s

Mortaruru with Red Overhead. 1953. Oil on board. hlOO* w81 cm. h39'4 * w31% in. Private collection
Willi Baumeister. b Stuttgart, 1889. d Stuttgart, 1955.
 Bazille Frederic The Artist's Studio on the rue de la Condamine

Inside his studio, Bazille is showing one of his pictures Bazille’s bold modelling of figures, and the broad small as he was killed in battle in the war with Prussia
to fellow artists Claude Monet and Edouard Manet handling of colours that became his hallmark. at the age of only twenty-nine. His death occurred
(with the hat). To the left is Pierre Auguste Renoir Although he died four years before the first shortly after this painting was rejected by the French
(seated), deep in conversation with the writer Emile Impressionist exhibition, Bazille is closely linked with academy, known as Le Salon.
Zola (standing on stairs). It is a fascinating glimpse the movement as he executed a radically new kind
into the world of the artist at that time, his friends and of painting that recorded his observations of everyday
everyday surroundings. The picture itself also shows life. The number of paintings that he produced is ► Manet, Monet, Renoir, Sisley, Teniers

Frederic Bazille. b Montpellier, 1841. d Beaune-la-Roland, 1870. The Artist's Studio on the rue de la Condamine. 1870. Oil on canvas. h97* wll2cm. h38'/s x w44'/e in. Museed'Orsay, Paris
Beauneveu Andre Saint Philip

St Philip sits on an elaborate Gothic throne. The artist from a page in a psalter or Book of Psalms that was time that Beauneveu was working on this manuscript,

has paid particular attention to his bearded face, and made for Jean, Due de Berry. The duke was a great the illustration of religious works was experiencing

to the folds of his robe where it has spread out on the patron of the arts, who prided himself on his large a revival in Renaissance France.

ground. The throne itself recedes into the background collection of manuscripts. This included the wonderful
in an attempt at realistic perspective, but the saint book of hours, the Tres Riches Heures du Due de Berry,
seems to be floating awkwardly in his seat, not solidly by the Limbourg brothers. Psalters were made very
fixed to anything, or held by gravity. The picture comes small so that they could be carried about easily. At the ► Antonello, Van Eyck, Fouquet, Limbourg

1361. d Valenciennes, cl402. Saint Philip. cl380/5. Illumination on vellum. hl2.7 x wlO cm. h5 x w4 in. Bibliotheque Nalionale, Paris
Andre Beauneveu. Active in Valenciennes,
 Beccafumi Domenico Tanaquil, Wife of Lucomo

The contemporary appearance of the sitter’s gown and was thus seen as a notable historical figure. formalized in the work illustrated here with the bright
and hairstyle belie the fact that she is an Ancient The soft colours and elongated forms show Tanaquil and decorative colours typical of Sienese painting.
Roman; she is pointing to a tablet which identifies her in an elegant and sensitive style. These elements were He is particularly famous for designing an elaborate
as Tanaquil, who persuaded her husband to move to become hallmarks of Mannerism. An imaginative marble pavement inside Siena Cathedral, decorated with
to Rome where he reigned as King Tarquinius Priscius artist and draughtsman, Beccafumi is famous for scenes from the Old and New Testaments.
from 616 to 578 bc. During the Renaissance, Tanaquil decorating the churches of Siena with many paintings
was gready admired for her fortitude and perseverance and frescos. He was able to combine the ideas ► Cranach, Goya, Parmigianino, Pontormo, Rosso Fiorentino

Domenico Beccafumi. b Valdibieno, cl486. d Siena, 1551. Tanaquil, Wife of Lucomo. cl520. Oil on panel. h92 * w53 cm. h36% x w21 in. National Gallery, London
 r Bernd and Hilla Water Towers

Nine black-and-white images of different water towers partnership, the Bechers started to photograph scientific approach taken by the Bechers would influ¬

have been arranged in a 3 X 3 grid. In these exquisite industrial architecture in the late 1950s. Through the ence a younger generation of photographers including

photographs anonymous industrial structures take selection and isolation of different functional types - Andreas Gursky and Thomas Struth. Themes

on a sculpture-like presence. The composition of each grain silos, gas tanks, blast furnaces, etc. - they revealed of repetition and standardization in their work can

photograph follows the same rules: the tower is not only the structural elements and forms shared be seen to parallel the interests of Minimalist artists.

captured against an overcast sky; the structure fills the by each type, but also the subde design variations that
appear across periods and locations. The objective and ► Gursky, Judd, LeWitt, Struth
frame of the image. Working as a husband and wife

Rostock, 2007. Hilla Becher. b Potsdam, ,934. d Dusseldorf, 2015. Water Towers. ,980. Ninegelo, in silverprints, hi 55.6 * w, 25.1 cm. h61V4 * w49'/4 in. Solomon R. Guggenheim Museum, New York, NY
Bernd Becher. b Siegen, 1931. d
 Beckmann Max Departure

Horror and brutality are juxtaposed in stark contrast powerful in a series of nine triptychs Beckmann Expressionism, Beckmann did not ally himself to any
with serenity and peace in this triptych. The left painted. It mirrors the political turbulence of Germany particular movement. In 1938 political persecution
and right panels depict nightmare scenes of torture during the early 1930s, when the rise of Nazism and drove him to Amsterdam. He spent the last three years
and degradation, in which men and women are the consequent constricting atmosphere put the future of his life in the USA, where he helped to spread the
subjected to terrible pain, while the centre panel of art into question. Although the painting evokes influence of contemporary German art.
portrays spiritual figures in the blue of an apparendy with powerful force the artist’s own feelings, and could
infinite sea. The work is considered to be the most therefore be considered as an example of ► Bosch, Ensor, Heckel, Kokoschka, Siqueiros

Max Beckmann, b Leipzig, 1884. d New York, NY, 1950. Departure, 1932-5. Oil on canvas. h215.5 x w314 cm. h84% x W123% in. Museum of Modern Art, New York, NY
Bell ini Gentile The Miracle of the True Cross near the San Lorenzo Bridge

Renaissance Venetians took great pride in their city and and worked. The scene is full of delightful details: and his younger brother Giovanni. In 1479 he travelled
it was common for works of art to be commissioned ladies’ jewellery and the bricks in the chimneys to Constantinople where he worked in the Court of
to depict special events. The ‘miracle’ shown here are painted with equal skill and concern. In addition, Mohammed II and painted his portrait.
is used as an excuse for the artist to show off everyday Gentile has infused the scene with a soft light that
life in Venice, and his skill as well. The gondoliers, picks out the figures in the crowd and illuminates the
monks, society ladies and gentlemen, palaces and canal buildings. Gentile came from an important dynasty
are all part of the beautiful city in which Gentile lived of Venetian painters, which included his father Jacopo ► Giovanni Bellini, Bellotto, Canaletto, Guardi, Hiroshige

h323 x w430 cm. hl27'4 * wl69'/< in. Galleria deliAccademia, Venice

Gentile Bellini, b Venice, c!429. d Venice, 1507. The Miracle of the True Cross near the San Lorenzo Bridge. 1500. Oil on canvas.
 Belliini Giovanni Young Woman at her Toilet

With its idealized face and distant landscape, technique of oil painting. In fact, he takes much of Giorgione among his pupils. As was common at the
this painting recalls some of Bellini’s paintings of the the credit for transforming Venice into an important time the master would sign the workshop paintings as
Virgin Mary. The aim of this work, however, was centre of the Renaissance. The major influence on his own. Today Bellini’s own paintings are considered
certainly not to create an object of religious devotion; his early years was his brother-in-law Andrea Mantegna. to be superior, but at the time, any workshop paintings
this nude presents us with a secular ideal of feminine However, Bellini’s pictures tend to be romantic and would have been valued as the master’s work.
beauty. Giovanni was the most famous member of imaginative, where Mantegna’s are sharp and precise.
the Bellini dynasty and did much to popularize the new Bellini led an active workshop, with Titian and ► Gentile Bellini, Giorgione, Ingres, Mantegna, Titian

Giovanni Bellini, b Venice, c!434. d Venice, 1516. Young Woman at her Toilet. 1515. Oil on panel. h62 * w79cm. h24'/4 * w31 in. Kunsthistorisches Museum, Vienna
Bellmer Hans The Spinning Top

A whirling skeletal female form spins on a top which and only signed when Bellmer had found a buyer in female body, often treated in an obsessively erotic
she is holding in her bony hand. This peculiar image 1956. Polish-born, Bellmer became an active Surrealist manner. He is known particularly for his disturbingly
symbolizes woman turning the hearts and heads when he moved to Paris in 1938. This painting fetishistic ‘Dolls’, a series of articulated female
of men, as she spins in defiance of gravity. Relating to reflects many of the movement’s preoccupations — mannequins, and for his drawings and lithographs,
an unrealized project for a sculpture, conceived in its distorted, phantasmagoric imagery appears to executed with superb technical precision.
1936—9, it is certainly one of Bellmer’s most haunting have emerged direcdy from the artist’s subconscious
images. The painting was reworked over several years, fantasies. Bellmer’s central theme was that of the ► Brauner, Delvaux, Ernst, Matta, Tanguy

Hans Bellmer b Katowice, 1902. d Paris, 1975. The Spinning Top. cl937-56. Oil on canvas. h65 * w65cm. h25% * w25s/s in. Tate, London
 Bellotto Bernardo View of the Ponte delle Navi, Verona

With splendid visual accuracy the artist has evoked much confusion. However, Bellotto’s works are cooler Dresden and, finally, Warsaw. Bellotto’s views of
the crusty plaster and brickwork of buildings, and and crisper, and he was more interested in clouds, the Polish capital were considered of such accuracy
the bright play of sunlight on the city skyline. Bellotto shadows and foliage. Bellotto’s paintings also include that they were used in its reconstruction after the
was the nephew and pupil of Canaletto, and for a more figure groups than Canaletto’s — as can be seen Second World War.
time worked with the master as an assistant in Venice. in this picture, with its strolling couples, running
Bellotto’s style is very much like his uncle’s - in fact children, and so on. In 1746 Bellotto left Venice and
he sometimes signed himself Canaletto, which caused visited other Italian cities. He then travelled to Munich, ► Gentile Bellini, Bonington, Canaletto, Guardi, Pannini

Bernardo Bellotto. b Venice. 1721. d Warsaw, 1780. View of the Ponte delle Navi, Verono. cl745. Oil on canvas. hl32 « W233.7 cm. h51 * w92 in. Private collection. On loan to the National Gallery of Scotland, Edinburgh
Bellows George Forty-two Kids

On the right of the pier a child is frozen in a half- idyllic landscapes. Instead, he aimed to capture real life life experimented with different subjects and
completed dive. The children have been caught as if in as he saw it. He was influenced and inspired by a group techniques. Bellows personified the American spirit
a photograph, at the split-second of action. The artist known as The Eight, who believed that art should of enthusiasm and eagerness both in his painting
has used rapid brushstrokes to simplify the bodies reflect reality, particularly the gritty reality of the city. and in his life.
in order to give the impression of a fleeting moment. Bellows often painted subjects that evoked the vitality
Bellows turned his back on the formality of the artists of city life such as crowded neighbourhood streets.
who came before him, with their posed portraits and He painted portraits as well as landscapes, and later in ► Eakins, Hopper, Vuillard, Wyeth

, hi07.6 X wl53 cm. h42% * w60'/4 in. Corcoran Gallery ol Art, Washington, DC
George Bellows, b Columbus, OH, 1882. d New York, NY, 1925. Forty-two Kids. 1907. Oil on canvas.
 Bernini Gianlorenzo The Ecstasy of Saint Theresa

In a vision, St Theresa of Avila sees an angel thrusting the Italian Baroque. The virtuosity and delicacy of ‘golden age’; no other single artist has left such an
a golden spear into her heart. Swooning in physical finish of his statues is reminiscent both of indelible imprint as he has on the city. The layout
and spiritual abandon - symbolic of her love of God - Michelangelo and of Antique statuary, although it also of Rome’s St Peter’s Square is one of his grandest
she expresses the intensity of her mystical experience combines the styles of his contemporaries Caravaggio, architectural achievements.
for all to see. This marble group is a perfect example Annibale Carracci and Guido Reni. An accomplished
of the Baroque spirit - full of drama, emotion architect as well as a sculptor, Bernini virtually
and movement. Bernini was an outstanding artist of monopolized papal commissions during Rome’s ► Caravaggio, Carracci, Michelangelo, Reni

Gianlorenzo Bernini, b Naples, 1598, d Rome, 1680. The Ecstasy of Saint Theresa, 1646-52. Marble. h350cm. hi 38 in. Santo Maria della Vittorio, Rome
Beuys Joseph Felt Suit

This stitched felt suit expresses the idea of human Vietnam event. Beuys considered art as a medium and giving them new powers and new meaning. Beuys

physical warmth. It symbolizes and evokes a sense for social and political change. He also saw it as having achieved cult status in his native Germany, and many

of safety and shelter because felt is an insulating and a spiritual dimension, and believed that commonplace of his works, including this suit, were produced in

life-protecting fabric. Beuys was at one stage materials (felt and animal fat were among his large editions.

connected with Fluxus, a movement dedicated to favourites) could be invested with an intense healing
organizing anarchistic events and ‘happenings’, and power. He saw the role of the artist as parallel to
that of the shaman, channelling energy from objects ► Broodthaers, Duchamp, Oldenburg, Schwitters
this suit was copied from one he wore at an anti-

d Dusseldorf, 1986. Felt Suit. 1970. Stitched felt, hi 70* wlOOcm. h67* w39%in. Private collection
Joseph Beuys, b Krefeld, 1921
 Bierstadt Albert The Rocky Mountains

During the early nineteenth century the passion of the a master at creating romanticized visions of the represented a nation’s last gasp of romanticism before
American nation was stirred by the peaceful forests American wilderness. His canvases were usually huge the railroad ate into the countryside. The need to
and wide open spaces of its own lands. This occurred and painted in great detail. They showed nature at believe in the existence of a New World, at least in
at a time when America was becoming rapidly indus¬ her most remote and unassailable, from the distant spirit if not in reality, remained strong for a long time.
trialized. The threat of the railroad and of the Machine splendour of the Rocky Mountains to the magni¬
Age was a real one, and in response, the nation desired ficence of the Yosemite Valley. Bierstadt was born in
to protect its places of natural beauty. Bierstadt was Germany but moved to the USA as a child. His work ► Church, Cole, Cozens, Daubigny, Hobbema, T Rousseau

Albart Bierstadt. b Solingen, 1830. d New York, NY, 1902, The Rocky Mountains, 1863. Oil on canvas. hl80 * w306 cm. h73'A * wl20% in. Metropolitan Museum of Art, New York, NY
Bingham George Caleb Fur Traders Descending the Missouri

In a misty peacefulness, two trappers and their cat glide most important of the early North American Frontier in 1848). However, he is best remembered as a popular

down the Missouri. A warm light, shimmering across Painters, painted the landscapes and settlers of chronicler of a bygone American way of life, and

the still river, creates a dreamy sense of timelessness. the American West. At a time when the camera was a painter of great skill and sophistication.

The two figures will soon be out of sight. In many not widely used, it was left to artists to show the world
of his early pictures Bingham used carefully balanced what this new and strange land was like. Gradually,
horizontals and diagonals, with figures placed at right- Bingham moved off the river, onto the land, and into
politics (he was elected to the Missouri legislature ► Allston, Bierstadt, Cole, Friedrich
angles to create a solid structure. The artist, one of the

h74 x w92 cm. h29 x w36'/2 in. Metropolitan Museum of Art, New York, NY
George Caleb Bingham, b Augusta County, VA, 1811. d Kansas City, MS, 1879. Fur Traders Descending the Missouri. 1845. Oil on canvas.
 Blake Peter On the Balcony

The figures sitting on a park bench are surrounded by At the time it was considered Blake’s most important towards a more naturalistic style and in 1975 he
and display four paintings executed by Blake’s fellow work in its direct visual impact, and it now also became a founder member of the Brotherhood of
students, together with various expendable commercial conveys a sense of the escalating culture of the 1950s Ruralists, whose ideal was to work together in the
items including cigarette packs, magazines and food by confronting the viewer with an unordered riot countryside, as artists had in the nineteenth century.
packaging. The painting’s simple arrangement pays of popular imagery. It is this depiction of commercial
little attention to perspective, as the represented objects memorabilia that helped pave the way for the British
are the most important ingredients of the composition. Pop art movement. During the 1970s Blake moved ► Hamilton, Hockneyjones, Rauschenberg, Schwitters

Peter Blake b Dartford, 1932. On the Balcony. 1955-7. Oil on canvas. M21.3 * W90.8 cm. 1147=4 x w35% in. Tate, London
 William Pity

An apparently lifeless woman lies on the ground. heaven’s cherubin, hors’d...’. Blake’s precisely poetry as well as his striking symbolic paintings. He
Above her two female figures rush by on horses, delineated forms, rejecting traditional composition believed that the spiritual was more important than
the wind lifting their hair. One of the women looks and ideas of perspective, evoke an enigmatic the material world, and that the true artist is a prophet
down, and is holding a tiny child. The work illustrates otherworldliness. His style reflects his uniquely because he or she is given divine insight.
a passage from Shakespeare in which Macbeth personal, mystical vision, in which imagination and
contemplates the results of the murder of Duncan: reality become one. Originally a book engraver by
‘Pity, like a newborn babe, striding the blast of trade, Blake’s genius expressed itself through his ► Etty, J Martin, Moreau, Redon, Turner

William Blake, b London, 1757. d London, 1827. Pity, cl 795. Watercolour heightened with ink on popei h42 x w54 cm. h 16% * w21 Vi in. Tate, London
 Boccioni Umberto Elasticity

The dynamic movement of a horse and rider is With great bravado the Futurists rejected the conven¬ painter. In line with the militarism of the Futurists,
captured in a mass of bright colours and swirling, tions of Western art since the Renaissance, instead in 191; Boccioni volunteered to fight in the First World
fragmented forms. The man and animal appear looking towards science, technology and the city for War. He was killed falling from a speeding horse.
machine-like as they speed through a landscape of inspiration. With a pictorial style that owed a certain
factories and electricity pylons. A co-founder in 1910 debt to Cubism, Boccioni aimed to present simul¬
of the Italian Futurist group, Boccioni was fascinated taneously the new impressions and sensations of the
with the depiction of motion through time and space. modern world. Boccioni was a sculptor as well as a ► Balia, Feininger, Gertler, Popova

Umberto Boccioni. b Reggio di Calabria, 1882. d Sorte, 1916. Elasticity. 1912. Oil on canvas, hi 00 x wlOOcm. h393/s * w393/sin. Private collection
Bocklin Arnold Centaurs' Combat

A suggestion of horror, rather than its explicit reality, a sense of heightened drama and emotion. Bocklin him popularity in his day, and later inspired the work
is portrayed in this painting. Set in an otherworldly spent much of his career in Italy. This inspired of the German Expressionists and the French
landscape, the animated, heroic figures of the centaurs him to take up Classical and mythological themes Symbolists. His allegorical paintings were particularly
dominate the canvas with their dramatic choreography. which he interpreted in a poetically Romantic manner, admired for their strong impact and their challenging
Much of the tension of this painting derives from influenced by Eugene Delacroix and Theodore demands on the emotions.
the contorted poses and haunted expressions of the Gericault. The artist’s dream-like settings, menacing
centaurs, loosely painted in rich tones, which convey tones and haunting emotional undercurrents brought ► Delacroix, Gericault, Giulio Romano, Schmidt-Rottluff

Arnold Bocklin. b Basel, 1827. d Resole, 1901. Centaurs' Combat. 1873. Oil on canvas, hl05 * wl95 cm. h4VA * w76% in. Kunstmuseum, Basel
 Boetti Alighiero Twins

Alighiero Boetti inserted an V (meaning ‘and’) uniqueness of the Self. Walking hand-in-hand the two retained the Arte Povera ethos in his use of mundane
between his names in 1973, symbolizing the dichotomy figures are not mirror images, but rather reflect the materials, such as cardboard, fabric, cement blocks. His
between the private person and the formal surname relationship between two equal but separate things — later work, often collaborative, is characterized broadly
that identified him civically and professionally. The reason and creativity, the individual and society, order by an interest in classification systems, in finding order
double self-portrait in Twins functions in the same way. and chaos. Boetti was part of the movement of Italian within disorder, pattern within randomness.
One becomes two, creating a ‘dialectic exchange artists called Arte Povera (Poor Art), and though
between these two selves’ and questioning the very he disassociated himself from the group in 1972, he ► Beuys, Cahun, Close, Merz, Sherman

Alighiero Boetti. b Turin, 1940 d Rome, 1994. Twins. 1968. Gelatin silver photomontage postcard, hi5.2 * wl 1.2 cm. h6 * w4'/2 in. Private collection
Boltanski Christian Reserve of Dead Swiss

This large-scale installation consists of two walls and peace. In previous works, Boltanski had used acclaimed artists of our time. His other works

of metal biscuit boxes and a series of black-and- photographs of Jewish children. Here, by using images include glass display cabinets containing memories

white photographs taken from obituaries in a local of the Swiss - a race associated with neutrality rather of childhood, ‘Shadow’ sculptures made of scrap

newspaper, poorly illuminated by clamp-on electric than a specific and terrible fate - Boltanski lays greater materials which are illuminated by candles, and rooms

lamps. Powerful sensations of life and death are emphasis on the universality of mortality. His unique filled with clothes which he also calls ‘Reserves’.

evoked by this shrine to the memory of the dead, with style, medium and subject matter focusing on themes
of death have made Boltanski one of the most ► Andre, Kiefer, Poussin, Teniers
its almost religious atmosphere of perpetual stillness

Reserve of Dead Swiss. 1990. Photographs, metal tins and electric lamps. h203 cm. h80 in. Marian Goodman Gallery, New York, NY
Christian Boltanski. b Paris, 1944.
 Bomberg David The Mud Bath

At first, this might seem to be a completely abstract express the vitality and dynamism of the twentieth he moved away from geometric forms and turned to
picture. In fact, it shows a vapour bath, used by the century and the excitement of the Machine Age. a more representational style, often using vibrant
Jewish community of Whitechapel in London. Blue He was a founder member of the London Group, colours and expressive brushstrokes.
and white figures jostle and leap around the bath’s an exhibiting society formed in 1913. Although
red rectangle shape, throwing themselves around the Bomberg kept his distance from the Cubists, Futurists
central dark pillar. The son of a Polish immigrant, and Vorticists, which were all active at the time, he
Bomberg used angular and semi-abstract forms to did identify with some of their theories. In the 1920s ► Bellows, Boccioni, Braque, Lewis, Nash, Picasso

David Bomberg, b Birmingham, 1890. d London, 195/The Mud Bath. 1914. Oil on canvas. hl52.5 x w224cm. h60 x w88'4 in. Tate, London
Bonington Richard Parkes Rouen from the Quais

The steeple of the great Rouen Cathedral and the the artist Baron Gros at the Ecole des Beaux-Arts in life in France and, in addition to city views, he also
tall masts of the boats create strong verticals in this Paris. He was close friends with the Romantic painter painted landscapes and historical scenes. Shortly before
picture. Watercolour is a lively, immediate medium, Eugene Delacroix, who wrote of him, ‘no one in his death Bonington began to paint in oil; he is best
which has allowed the artist to capture the activity of the modern school, perhaps no earlier artist, possessed remembered, however, for his skill as a watercolourist.

the busy quays. Bonington’s watercolour style is by the lightness of execution which makes his works,
a small range of colours applied to highly textured in a certain sense, diamonds, by which the eye is
paper. This work was painted while he studied under enticed and charmed’. Bonington spent most of his ► Gentile Bellini, Bellotto, Cozens, Delacroix, Gros

r. h40.5 x w27.5 cm. hl5% x w!0% in. British Museum, London

Richard Parkes Bonington, b Arnold, 1802. d London, 1828. Rouen from the Quais. 1821. Watercolour on paper.
 Bonnard Pierre The Open Window

The interior and open window, the sleeping girl and particularly for his intimate domestic interiors, As well as a painter Bonnard was a master of
the kitten are barely visible in a rich riot of colour. Bonnard was a member of the group known as lithography, using shapes, colour and line to great
The viewer is encouraged to enter the room and join Les Nabis whose aim was to simplify the outline and effect. He was one of the few foreign artists
the scene, looking out of the window at the trees colour of their paintings. The Nabis rejected the to be elected to the Royal Academy in London.
beyond. Bonnard successfully conveys the atmosphere idea of engaging the viewer purely through subject
of heat and tranquillity of the South of France by matter. Instead, they aimed at expressing feeling
using warm and bright tones of colour. Known through form, often using broad areas of flat colour. ► Caillebotte, Denis, Hassam, Matisse, Vallotton, Vuillard

64

Pierre Bonnard, b Fontenay-aux-Roses, 1867. d LeCannet, 1947. The Open Window, cl921. Oil on canvas, hi 18 * w96 cm. h46'/2 * w37% in. Phillips Collection, Washington, DC
Ter Borch Gerard Dancing Couple

A stylish and rather mischievous-looking courtier achieved recognition for his intimate, homely scenes have had first-hand knowledge of almost all the great
in military uniform asks a demure-looking young lady of well-to-do family life and for the expertise with seventeenth-century artists, including Rembrandt and
dressed in a sumptuous white silk gown to dance. which he captured fine fabrics such as silk and satin. Diego Velazquez, yet his style of painting bears no
Light falls on the couple as he takes her hand; the rest The detail of his paintings and the curious doll-like hint of their influence.
of the sparsely furnished interior and the seated charm of his figures appealed to the tastes of the
onlookers fall into shadow. Ter Borch, an early Dutch Amsterdam and Haarlem middle classes. Ter Borch
portraitist and painter of genteel genre paintings, travelled extensively throughout Europe and must ► Dou, Metsu, Rembrandt, Velazquez, Vermeer

Gerard ter Borch. b Zwolle, 1617. d Deventer, 1681. Dancing Couple. 1660. Oil on canvas.;. h76 x w66 cm. h30 * w26 in. Polesden Lacey, Dorking
 Bordone pans Presentation of the Ring to the Doge of Venice

A fisherman who had been rescued by St Mark is work, which is a good example of Renaissance admirer of Italian Renaissance artists. While in France,
giving the saint’s ring to the Doge of Venice. The artist Venetian art. Bordone was a leading portraitist as well Bordone painted several portraits of the prominent
has depicted the figures in contemporary dress, even as a painter of landscapes and anecdotal and mytho¬ political figures of the day.
though the incident is said to have happened hundreds logical scenes. He originally studied under Titian, and
of years earlier. Portraits of prominent Venetians, in fact rivalled his master in popularity. The painting
including the Doge of the time, were used as models. shown is very much in the style of Titian. Bordone
Elaborate columns, arcades and apses dominate the was invited to France by Francis I, who was a great ► Gentile Bellini, Clouet, Guardi, Sassetta, Titian

Paris Bordone. b Treviso, 1500. d Venice, 1571. Presentation of the Ring to the Doge of Venice. 1534. Oil on canvas. h370 * w300 cm. hl45% x wl 18 in. Galleria dell'Accademia, Venice
 Hieronymus The Tribulations of Saint Anthony

The pious hermit St Anthony is subjected to all the that awaits all those who succumb to evil. Bosch’s or allegories or proverbs about the folly of human
temptations and tortures that Bosch’s ghoulish imagin¬ style is unique, and unparalleled in the Netherlandish beings. Bosch’s work seems strangely modern: four
ation can muster. Evil lurks around every corner — tradition of painting. His work is not at all similar hundred years later, his influence emerged in the
a seductive temptress hides in a cleft tree, a monster to other artists of the time, such as Jan van Eyck or Expressionist movement, and still later in Surrealism.
bursts forth from a huge, over-ripe fruit, and the scene Rogier van der Weyden. Most of the subjects of
is rife with menacing, supernatural-looking creatures. Bosch’s paintings revolve around scenes from the life
The raging inferno in the background hints at the fate of Christ, or a saint confronted by evil and temptation, ► Beckmann, Dali, Elsheimer, Van Eyck, Van der Weyden

hi31.5 x wl72 cm. h58 * w67in. Museu Nacional de Arte Antiga, Lisbon
Hieronymus Bosch, b 's-Hertogenbosch, c!450. d 's-Hertogenbosch, 1516. The Tribulations of Saint Anthony. cl505. Oil on panel.
 Botero Fernando Our Lady of Cajica

The universal image of the Madonna is portrayed here in order to emphasize her largeness. Botero was born been living in Paris since 1971, where he continues
as an inflated, rotund figure in Botero’s unique style. in Colombia and the religious subject of this painting to paint and sculpt. His later work includes a series
He has created a sense of the Madonna’s monumental is largely a response to his upbringing. In most of monumental sculptures of the female nude,
hugeness by contrasting her with tiny figures that Catholic Latin American countries the Madonna which were displayed down the length of the
peep out of the clouds behind — a device frequendy is worshipped as the most important religious figure. Champs-Elysees.
employed by the artist. In addition, the snake at the Botero’s works are characterized by their simplicity
bottom of the picture has been made unnaturally long. of form and exquisite application of paint. He has ► Bouts, Fouquet, Lochner, Spencer

Fernando Botero. b Medellin, 1932. Our Lady of Cajica. 1972. Oil on canvas. h234.4 x wl81.8cm. h953/4 x w715/8in. Private collection
Botticelli Sandro Spring

The diaphanous gowns of the Three Graces, the feminine atmosphere. Botticelli began his training matic priest called Savonarola, and painted fewer

elegant hands of Venus and the flowered dress worn under Fra Filippo Lippi and went on to move in the paintings with mythological themes. Botticelli died

by Flora combine to make this one of the most intellectual circles that flourished during the Florentine in obscurity. He was rediscovered in the nineteenth

beautiful paintings of the Italian Renaissance. The ‘golden age’. Many of his paintings involve philosoph¬ century by the Pre-Raphaelites, who particularly

painting reflects the fine draughtsmanship that was ical and allegorical meanings; Spring in particular has admired the Renaissance artist’s delicate linework.

fundamental to Florentine art at that time, and sparked much debate as to its symbolic significance.
Botticelli’s graceful line creates a sensitive, almost Later in life he came under the influence of a charis¬ ► Filippo Lippi, Millais, Pontormo, Rubens

Sandro Botticelli, b Florence, 1445. d Florence, 1510. Spring. c!478. Tempera on wood. h203 * w314cm. h79% x wl 23% in. Galleria degli Uffizi, Florence
 Boucher Francois Odalisque

A young girl lies naked on a bed with lavish draperies he engraved, and in the 1740s obtained the patronage classes whose elegant houses he decorated. Epitom¬
all around her. Blatandy provocative, she flirts with the of Madame de Pompadour. Through her influence izing the artifice of the Rococo age, he allegedly said
viewer as she looks out from her boudoir. Boucher’s he became chief painter to Louis XV. Boucher was of nature that it was ‘too green and badly lit’.
paintings epitomize the frivolous excesses of the mid¬ one of the most sought-after decorators in Paris, and
eighteenth century, making him one of the truest his charmingly coquettish pictures of naked nymphs
exponents of the Rococo style. In his youth he was and goddesses, usually in mythological and allegorical
closely connected to Antoine Watteau, whose pictures scenes, pandered to the taste of the Parisian upper ► Drouais, Fragonard, Ingres, Moore, Watteau, Wesselmann

Francis Boucher, b Paris, 1703. d Paris, 1770. Odalisque. c!745. Oil on canvas. h53 « w64cm. h2034 « w25V4 in.Museedu louvre, Paris
Boudiin Eugene The Beach atTrouville

A crowd of formally- dressed Parisians is seen basking gestures of people. Using a subtle and free brushwork, tiny figures below. Boudin was a major source of
in the sun at the fashionable seaside resort of speckled with flecks of pure colour, he could make inspiration for the Impressionists, particularly Claude
Trouville on the Normandy coast. Boudin came to the surface of his paintings sparkle, evoking a glowing Monet, who painted this very beach some years later.
be known as ‘the painter of beaches’ and frequently sky or a glittering sea. As in seventeenth-century
travelled to this particular beach throughout his Dutch landscape painting, the sky in Boudin’s paintings
career. An exceptionally gifted observer and recorder plays an important role. It often takes up two-thirds
of nature, he was able to capture the characteristic of the picture, forcing the viewer’s eyes to focus on the ► Avercamp, Van Goyen, Krayer, Monet

Eugene Boudin, b Honfleur, 1824. d Deauville, 1898. The Beach atTrouville. 1864. Oil on wood. h26 x w48cm. htO'/i * wl8T»in. Musee d Orsay, Pons
 Bourdelle Antoine Herakles

Power, strength and tightly coiled energy seem about bulging tendons, strains against a boulder. Bourdelle which was usually concerned with graceful forms.
to burst forth from the impressive form of Herakles. was a pupil of Auguste Rodin. Rather than following Taut and heroic, this sculpture epitomizes Bourdelle’s
The sculptor has used muscular shapes and bold, his master’s loose style, however, Bourdelle studied quest for the monumental in his art.
expressive features to create a sense of vitality. The Gothic and Ancient Greek sculpture. Inspired by the
tension is clearly shown In the bowstring, which is images of Antiquity, Bourdelle aimed to create a
being pulled back by a huge, powerful hand. Further similar feeling of density and volume. This was very
tension is created by the archer’s leg which, with its different from the popular sculpture of the time, ► Bocklin, Giambologna, Rodin, Rosso Fiorentino

Antoine Bourdelle b Montauban, 1861. d Vesinet, 1929. Herakles. 1908. Plaster. h248 cm. h97% in. Musee Bourdelle, Paris
Bourgeois Louise Here I Am, Here I Stay

Encased within a glass casket, a pair of truncated sensual surfaces, ranging from the roughness of Bourgeois moved to New York from Paris in 1938

human feet are firmly placed on a roughly hewn block the stone hewn from the earth to the smoothness where she had worked with the Surrealists. Initially

of marble. Perhaps alluding to the triumphant order of the man-made glass. Bourgeois’ work is frequendy a painter and engraver, she turned to sculpture in the

man has created out of the disordered chaos of nature, suggestive of the human form, often in a remote, late 1940s.
the elemental qualities of the material — marble, glass, abstracted context. The dynamic tensions of opposing
metal - evoke the timeless world articulated by human materials and finishes raise provocative responses to
endeavour. Great attention has been paid to the the physical presence within the natural environment. ► Brancusi, Canova, Dali, Noguchi, Rodin

I Am, Here I Stay. 1990. Marble, glass and metal. h88.9 * v/102.8 cm. h35 * w40'/2 in. Galerie Karsten Greve, Cologne
Louise Bourgeois, b Paris, 1911. d New York, NY, 2010. Here
 Bouts Dieric Virgin and Child

This image of the Virgin and Child is painted with were kept at home. Such works were often made of approach to painting, although some of his works
neither austerity nor pomp. The Virgin is seen tenderly two panels, the second being a portrait of the owner hint at an understanding of a more sophisticated form
cradling the Christ Child as any mother would her looking over at the Virgin, as if in prayer. The sleepy of perspective.
new-born baby. The result is a picture that is both cast to the eyes of the figures in this picture is a
spiritual and human. Small, half-length images of the quirky characteristic of Bouts’ way of painting faces.
Virgin and Child were popular in Netherlandish art. Bouts was undoubtedly influenced by Rogier van
They were treated as objects of private devotion, and der Weyden’s angular, sharply defined and sculptural ► Campin, Fouquet, Schongauer, Van der Weyden

Dieric Bouts. Active in Louvain, 1457. d Louvain, 1475. Virgin and Child. c!460-5. Oil and tempera on panel. h27.9 x W24.1 cm. hll * w9!4 in. Private collection
Boyd Arthur The Australian Scapegoat

The swirling, radiant colours of the sky converge reflect the red of the sky, clashing violendy with the family of artists - his father was a sculptor and potter,

at the bright sun. In the foreground, a scraggy black yellow coat of the man who, like the goat, sticks his mother a painter. He moved to England in 1959

beast, a hint of a tear falling from its sad eye, looks out his tongue at the sun. The fiery, passionate colours where he gained a high reputation as an artist both

longingly at a dead, upturned ray as if he were the and visionary nature of this picture give it an expres- there and in his native land.

cause of its demise. A man in an unnatural pose holds sionistic quality. In fact, many of his paintings are
the goat; perhaps he is a farmer, perhaps a fisherman. concerned with the emotions of sexual passion, guilt
and betrayal. Born in Australia, Boyd belonged to a ► Burra, Heckel, Kitaj, Nolan, Schmidt-Rottluff
The shallows of the sea in which they appear to stand

h259 X w442 cm. hi 02 * w!74 in. Art Gallery of New South Wales, Sydney
Arthur Boyd, b Murrumbeena, 1920. d Melbourne, 1999. The Australian Scapegoat. 1987. Oil on canvas.
 Brancusi Constantin The Kiss

Tightly entwined, two lovers embrace in a passionate pure form remains. Brancusi had an immense effect on who wanted to charge duty on an imported bronze
kiss. The elemental power of this work is expressed twentieth-century sculpture and abstract art in general. sculpture which they considered as nothing more than
by the bulk of the stone from which the forms are The simple grandeur of his works evokes a sense of raw material, thus liable for tax.
only sketchily emerging, as if roused from a timeless freedom and strength. In 1904 he walked from Romania
slumber. Brancusi reduced his sculptures to their (the country of his birth) to Paris, a feat which gained
most basic, most abstract, lending them a primordial him widespread admiration. His celebrity was further
vitality. Eschewing all surface decoration, nothing but fuelled by the law case he brought against US Customs, ► Bourgeois, Gaudier-Brzeska, Moore, Noguchi, Rodin

Constantin Brancusi, b Hobitza, 1876. d Paris, 1957. The Kiss. 1907. Stone. h28cm. hi 1 in.MuzeuldeArta, Craiova
Braque Georges The Round Table

A selection of commonplace objects, including dimensional world, Braque’s composition draws compositionally much looser than his early pioneering

a guitar, a knife, fruit and a bottle, are arranged attention to the surface of the canvas. This is further works, as is evident in the present example, in its

on a round table situated in the corner of a room. enhanced by the artist’s application of sand, which subject matter and the inclusion of non-art materials,

The tabletop is tilted forward, and the whole space introduces an unexpected texture. Along with Picasso, elements of Cubism still remain.

of the interior is pushed forwards towards the Braque is credited as the joint inventor of Cubism,
viewer. Unlike traditional perspective, which creates one of the most important artistic developments of
the twentieth century. Although his later paintings are ► Davis, Gris, B Nicholson, Picasso
the effect of looking through a window into a three¬

Georges Braque, b Argenteuil-sur-Seine, 1882. d Paris, 1963. The Round Table. 1929. Oil, sand and charcoal on canvas. hl44.7 * wl 14 cm. h57% « w44% in. Phillips Collection, Washington, DC
Brauner Victor Fascination

Muted browns and ochre tones decorate a spartan Brauner produced a series of paintings such as revelatory, stimulating images. Born in Romania,
room with a table — part furniture, part wolf - this one, inhabited by strange hybrids of women, Brauner worked mainly in France. In 1931 he painted
at which a featureless naked lady sits nonchalandy animals and objects. These absurd, hallucinatory his Self-portrait with Extracted Eye; the work proved
as if calmly waiting for a meal to be served. Her hair fantasies spring from the enigmatic world of Surrealist to be prophetic, as the artist lost his left eye in a bar
curves up and forms a bird with a swan-like neck art, in which the visual imagination is freed from brawl in 1938.
which viciously confronts the wolf’s head growing out the constraints of reason and logic. The Surrealists’
of the table. His tail and genitals are at the other end. vision aimed to harness the unconscious to produce ► Bellmer, Dali, Ernst, Magritte, Matta, Tanguy
Bronzino Agnolo An Allegory with Venus and Cupid

Venus turns to kiss Cupid, who fondles her breast. but what is it about? No one is certain. The cool light in oddly rigid poses. His sitters’ somewhat cold,
A bearded Father Time pulls a curtain over the scene. that bathes this bizarre scene and the smooth handling detached expressions compel the viewer to look closely

Jealousy clutches her head in her hands, and a masked of the paint are typical of the artist’s style. Bronzino’s for a glimmer of emotion.
figure looks on the scene from above. A girl who work is a wonderful example of Mannerism, in the
is part furry beast and part reptile holds a honeycomb way he distorts natural poses, exaggerates expressions
in one hand and the stinging end of her tail in the and emphasizes movement. A successful portrait
other. The painting is obviously some kind of allegory, painter in his day, Bronzino often placed his models ► Michelangelo, Parmigianino, Pontormo, Vouet

id Cupid. cl550. Oil on panel, hi 46 » wll6cm. h57'/j x w45% in. National Gallery, London
Agnolo Bronzino, b Florence, 1503. d Florence, 1572. An Allegory with Venus aw
 Marcel Casserole and Closed Mussels

A tall pile of mussel shells is held together with green- the Belgian bourgeoisie. It is probably Broodthaers’ juxtapositions and the creation of visual paradoxes
tinted resin, evoking the sea. The shells seem to be most famous image. The artist’s sculpture can be through the combination of words, everyday objects
surging upwards in an explosion of vitality. The image categorized as Conceptual Art, in that the ideas and printed material.
uses a pun on the words la moule (‘the mussel’) and behind his works are more important than the works
le moule (‘the mould”). The work is intended as a themselves. Broodthaers was also greatly influenced
metaphor for the artist’s home country of Belgium, by his compatriot, the Surrealist painter Rene Magritte.
where mussels are a national dish; it is also a satire on Like Magritte he often delights in incongruous ► Beuys, Duchamp, Magritte, Oldenburg, Rauschenberg

Marcel Broodthaers. b Brussels, 1924. d Cologne, 1976. Casserole and Closed Mussels. 1964-5. Mussel shells, polyester resin and iron casserole. h30.5cm. hi 2 in. Tate, London
Brown Ford Madox Work

It is impossible not to get the artist’s message in this theme of the Arts and Crafts movement. Brown matters. In 1844 and 184; he entered a competition to
action-packed picture crammed with detail. What is setded in England in 1845 after training at Antwerp, paint frescos for the Houses of Parliament, which he
perhaps less obvious is that the painting is also meant Paris and Rome. He became associated with the lost. Instead, he won a commission to paint frescos for
to celebrate the relationship between art and work. Pre-Raphaelite Brotherhood, but never joined them. Manchester Town Hall.
It was therefore painted in a style to mimic the great Although he shared their desire to return to the simple
Italian masters of the early Renaissance. The idea vision of the early Renaissance painters, Brown was
of combining art and work later became the central more interested in social issues than in purely ardstic ► Burne-Jones, Hunt, Leger, Filippo Lippi, Millais, Rossetti

Ford Madox Brown, b Calais, 1821. d London, 1893. Work. 1852-65. Oil on canvas. hl34.6 * wl96cm. h53 * w77'/sin. Manchester City Art Gallery, Manchester
 Bruegel ja„ The Garden of Eden

Exotic and everyday animals mingle in this Garden and fauna may seem comical to the modern eye, subjects earned him the nickname ‘Velvet’ Bruegel.
of Eden, richly and meticulously endowed with a but Bruegel has successfully imbued this sylvan glade Jan came from the great Bruegel dynasty of Flemish
profusion of lush plants and flowers. Bruegel’s main with a dream-like quality. His breadth of feeling painters; his father was Pieter Bruegel the Elder.
concern in this picture was the creation of a mystical, and sensitivity to natural surroundings helped to
imaginary landscape, and the figures of Adam and develop the great tradition of seventeenth-century
Eve have been reduced to insignificance in order to Dutch landscape painting. His highly finished manner
emphasize their setting. The limited selection of flora of painting flowers, landscapes and Garden of Eden ► Bassano, P Bruegel, Hobbema, Patinir, Ruisdael

Jan Bruegel b Brussels, 1568. d Antwerp, 1625. The Garden of Eden. c1620. Oil on panel. h53 * w84 cm. h203A * w33 in. Victoria and Albert Museum, London
Bruegel Pieter Peasant Wedding

The viewer is invited into an animated feast to animate Bruegel’s lively scenes are the very opposite however, was far from crude; his carefully applied
celebrate the wedding of two peasants. The painting of the Italian ideal of refined perfection. Yet it is thin layers of paint express a wonderful sense of the
is rich in detail — the figure filling the jug of wine Bruegel’s work, based on real-life observation, that is richness and variety of colour. Pieter Bruegel headed
at the left, the pies being brought to table on a door, the more real and human. Legend has it that Bruegel a family of painters which flourished in the sixteenth
and the bagpipe player hungrily staring at the food. would put on disguises in order to take part in the and seventeenth centuries.
All show Bruegel’s ability to capture the peasants’ peasants’ rollicking gatherings; this led to his being
earthiness. The drunken, bumbling characters who given the nickname ‘Peasant Bruegel’. His technique, ► Bosch, J Bruegel, G David, Ostade

Pieter Bruegel b Brogel, cl525. d Brussels, 1569. Peasant Wedding. cl568/9. Oil on panel, hi 14 x w164 cm. h44% * w64% in. Kunsthistorisches Museum, Vienna
Ter Brugghen Hendrick The Flute Player

A young dandy dressed in a striped brocade shirt cation of Music, or may illustrate Hearing, one of Ter Brugghen studied in Rome and together with
with baggy sleeves is playing a flute, his dark velvet hat the five senses. The design of the picture is unusual: Gerrit van Honthorst and other members of the
setting his profile into relief. This painting appears the boldly painted figure, outlined against a plain so-called Utrecht School was instrumental in
to be free from all literary overtones — a pure background, is viewed close-to and almost fills transporting Caravaggio’s ideas to northern climes.
evocation of a light, joyful subject. Dutch painting one-half of the picture space. This directness of
of this time generally held a wider symbolic meaning, composition, and the dramatic use of light and shade,
however, and this picture may represent a personifi¬ show the influence of the early work of Caravaggio. ► Caravaggio, Greuze, Honthorst, Lotto

Hendrick ter Brugghen. b Deventer, 1588 d Utrecht, 1629. The Flute Player. 1621. Oil on canvas. h71.3 * w55.8 cm. h28Vs x w217/b in. Staatliche Kunstsammlungen, Kassel
Buren Daniel Two Levels

What is seen here is only a small part of a spectacular, creates his own interpretation of an existing archi¬ have changed over the years, he did at one time apply
colossal sculptural installation which was created tectural space (the traditional columns are visible in his paint to different materials, including flags, sails,
especially for the Cour d’Honneur of the Palais-Royal the background). A leading light in French Conceptual stone steps and walls.
in Paris. Each column is constructed of black and Art, Buren acknowledges that meaning is determined
white strips of marble and is placed in a rigid, uniform by context. He demonstrates this by reproducing his
sequence in the central square. The work’s impact is trademark - vertical stripes - in a variety of settings.
entirely governed by the surroundings, as Buren Although neither his idea nor his form of expression ► Andre, Christo, Heizer, Judd, Long

Daniel Buren. b Boulogne-Billancourt, 1938. Two Levels. 1985-6. Black and white marble. Surface area 67 * 50 m. 220 x 164 ft. Palais-Royal, Pans
 Burne-Jones Sir Edward King Cophetua and the Beggar Maid

A lost age of chivalry and romance is rediscovered Botticelli and Andrea Mantegna, and was also mystical, spiritual quality. At the time, William Morris’s
in this elegant painting. It tells the story of a king who inspired by his association with Dante Gabriel Rossetti. Arts and Crafts movement had swept the country,
searched far and wide for the perfect woman, and Although he was not one of the original members and its influence can be seen here in the leaves, fabrics
finally found her disguised as a simple beggar. She is of the Pre-Raphaelite Brotherhood, his work reflects and designs on the staircase.
the brightest object in the picture, and appears to glow many of the ideas associated with those painters.
with heavenliness. Burne-Jones was deeply affected by Burne-Jones’s rich colours, poetic subject matter and
artists of the early Italian Renaissance, such as Sandro meticulous attention to detail give his paintings a ► Botticelli, Brown, Mantegna, Millais, Rossetti

Sir Edward Burne-Jones, b Birmingham, 1833. d London, 1898. King Cophetua and the Beggar Maid. 1862. Oil on canvas. h76.2 * W63.5 cm. h30 x w25 in. Tate, London
Burra Edward Cornish Landscape with Figures and Tin Mine

The artist has captured the spirit of the formidable in the top left-hand corner, may reflect Burra’s interest famous works are watercolours of women, or of

and depressed figures in this haunting Cornish land¬ in Surrealism. Although he knew a number of the people enjoying themselves. These were done in Burra’s

scape, with its ruined tin-mine workings in the Surrealists while living in France, he never really allied sharp, slightly exaggerated style, which changed little

background. It is known that the man in the striped himself with them or any other movement. Burra’s throughout his life.
coat (who is painted twice) was seen by Burra in work during the 1930s became satirical, recalling that
a pub, and the two tattooed figures are direct copies of George Grosz. Towards the end of his life his work
from a book. The strange, ghostly head, just visible developed into his own peculiar style. Most of his ► Boyd, Dali, Grosz, Kitaj, Tanguy

W135.9 cm. h30% * w53’/2 in. Private collection

Edward Burra, b London, 1905. d Playden, 1976. Cornish Landscape with Figures and Tin Mine. 1975. Watercolour on paper. h78.1
 Burri Alberto Sacco

Materials that have been ravaged by time and discarded torn, creates a powerful tension between beauty and charred wood, iron plates and plastic sheets, burnt into
as waste, lacerated and unravelled, have been stitched decay. The picture reflects the philosophy of the Art gaping holes with a blowtorch, which are highly sought
back together and painted. Burri’s early experiences as Informel movement, a post-war school of abstract art after by collectors.
a doctor, handling blood-stained bandages and sewing that rejected conventional ideas of composition and
up wounds during the Second World War, provided turned to new materials for inspiration. Burri’s works
the inspiration for this work. The coarseness of the demonstrate his fascination with surface texture and
material used, and the violence with which it has been different media. He has made a series of pictures using ► Dubuffet, Fautrier, Riopelle, Still, Tapies

Alberto Burri. b Citta di Costello, 1915. d Nice, 1995. Sacco. 1954. Burlap, linen, oil and gold painton board. h33 « w38cm. hl3 * wl5'/4in. Private collection
Cahun Claude Untitled (Self-Portrait)

A figure looks towards us, confronting our gaze; their 1920s and 1930s Cahun lived in Paris, where the began to produce and distribute anti-Nazi leaflets.
reflected image looks away. Is this a man or a woman? subversive nature of her work led to a loose asso¬ In 1944 they were arrested and sentenced to death.
The photograph is in fact a self-portrait. Born Lucy ciation with the Surrealist group of artists. In 1937 Although the sentence was not carried out, much
Schwob, in 1919 the artist adopted the sexually ambigu¬ she settled in Jersey with her lover, stepsister and of Cahun’s work was destroyed.
ous pseudonym Claude Cahun. Central to both artistic collaborator Suzanne Malherbe (Marcel
Cahun’s life and art was a questioning and destabilizing Moore). Following the German occupation of the
of established models of gender identity. During the island in July 1940, the sisters, as they were known, ► Abramovic, Boetti, Man Ray, Sherman, Zhang Huan

d Jersey, 1954. Untitled (Self-Portrait). 1928. Gelatin silver print. hl8 * W24 cm. h7 * w9'/t in. Jersey Museum and Art Gallery, St Helier
Claude Cahun (Lucy Renee Mathilde Schwob). b Nantes, 1894.
 Caillebotte Gustave Young Man at his Window

The artist’s younger brother Rene stands with his back the window-frame view makes it one of Caillebotte’s many of the paintings they found difficult to sell.
to us, looking out from the window of the family most compelling images. Caillebotte specialized In his will Caillebotte left his collection, including 65
home at 77 rue de Miromesnil, Paris. The huge stone in views of Paris and its surroundings, and images Impressionist paintings, to the state. The collection
balustrade creates a strong division between the inside of working-class life. An intimate and supportive was refused, and only after three years of negotiations
of the house and the world beyond, as our eyes friend of Claude Monet, Pierre Auguste Renoir and were 3 8 pictures finally accepted.
are drawn to the streets below, following Rene’s gaze. Alfred Sisley, Caillebotte not only organized exhib¬
This device of drawing the viewer into the picture via itions of the Impressionists’ works but also bought ► Bonnard, Matisse, Monet, Renoir, Sisley, Vuillard

Gustave Caillebotte. b Paris, 1848. d Paris, 1894, Young Man at bis Window. 1876. Oil on canvas, hi 16.2 * w80.9cm. h45% x w317s in. Private collection
 Alexander Lobster Trap and Fish Tail

The delicate balancing and twisting of the metal combines the humour of the marine images with integral part. Calder was the inventor of the mobile,

shapes create an image of a lobster trap, while the the sense of beauty and grace of a construction which and made his first one in 1932. His mobiles have

stylized brighdy coloured fish and nine black elements continually rises, falls and turns at varying speeds ranged in height from around 4 centimetres (V2 inch)

suspended below give us the impression that we are and in different directions. The element of motion to over 5 metres (12 feet); an example of the latter can

looking at a fish skeleton. The metal elements in the work makes it a prime example of Kinetic Art, be seen at JFK Airport in New York.

gracefully swing independently of each other in slow a term applied to works of art in which actual
movement, or an impression of movement, plays an ► Caro, Lissitzky, Miro, Tinguely, Vasarely
circles, set in motion by currents of air. Calder

d New York, NY, 1976. Lobster Trap and Fish Tail. 1939. Steel wire and painted sheet aluminium. W289.5 an. wl 14 in. Museum of Modern Art, New York, NY
Alexander Calder. b Philadelphia, PA, 1898.
 Calle Sophie The Hotel: Room 24, March 2, 1981

Sophie Calle’s conceptual projects examine identity, to the hotel guests occupying each room. In addition image were presented alongside each other. As with
emotion and intimacy, using a voyeuristic method to photographing the items, the artist created much of her work, ‘The Hotel’ series centres on the
that scrutinizes not only friends and strangers but also, diary entries in which she wrote down her thoughts artist’s interest in the interface between public and
in an exhibitionistic way, the artist herself. In 1981 and observations as she rifled through letters and private lives - her own and those of others - and her
Calle was employed for three weeks as a chambermaid rummaged through the discarded contents of the fascination with unconscious patterns of behaviour.
in a Venice hotel. As she cleaned, the artist recorded wastepaper basket. The project resulted in twenty-one
and scrutinized the personal possessions that belonged diptychs, each specific to a room, in which text and ► Baldessari, Holzer, A Piper, Rist

Sophie Calle b Pons, 1953. The Hotel: Room 24, March 2, 1981. 1981. Gelatin silver print with Ektachrome print collage. Each panel hl05 x wl45 cm. h41'/< x w57in. Private collection
Campin Robert The Virgin and Child before a Fire Screen

Despite her rich and elaborate for-lined gown, the the hemline of her dress and the rushwork of the fire¬ were (wrongly) supposed to have come from Flemalle.

Virgin is shown in a homely setting. She looks as screen have been painstakingly rendered. The artist’s It is thought that Rogier van der Weyden may have been

though she has just put down her book to nurse her technical skill and inventiveness invite comparison one of Campin’s pupils.

child. Minutely observed details appear throughout with his contemporary, Jan van Eyck. Campin’s identity
the work; the townscape in the background is as clear is shrouded in mystery. It is generally thought that he is
and precise as the figures in the foreground, while the same person as the so-called Master of Flemalle, a
name given to the painter of a group of pictures that ► Bouts, Van Eyck, Fouquet, Schongauer, Van der Weyden
the pages of the Virgin’s book, the decoration along

id Child before a Fire Screen. c!425/30. Oil and tempera on panel. h63.5 * w48.5 cm. h25 * w!9 in. National Gallery, London
Robert Campin. Active in Tournai, 1406. d Tournai, 1444. The Virgin am
 Canaletto The Basin of San Marco on Ascension Day

Seen from across the Basin of St Mark’s, the Doge all the pomp and splendour of his native city’s festivals. England in 1746, and while there painted a group
is about to embark on the magnificent state barge, As the leading Venetian landscape painter of his of landscapes, including views of Warwick Castle,
the Bucintoro, to celebrate Venice’s symbolic Wedding day, Canaletto’s works were very popular, especially Eton College and Whitehall.
to the Sea, one of the great events of the Venetian with the English nobility. Canaletto’s acutely observed
calendar. On Ascension Day each year, the Doge paintings of Venice’s canals and palaces, with their
would throw a ring into the Adriatic Sea. The event shimmering wealth of detail, even today evoke a
presented the artist with a grand opportunity to show romantic view of this beautiful city. Canaletto visited ► Gentile Bellini, Bellotfo, Bonington, Guardi, Pannini

Canaletto (Antonio Canale) b Venice, 1697. d Venice, 1768. The Basin of San Marco on Ascension Day. cl740. Oil
on canvas. hl22 x wl 83 cm. h48 * w72 in. National Gallery, London
Canova Antonio Cupid and Psyche

With wings not yet folded, Cupid lands to revive of the Neo-Classical ideal of perfection of form and throughout Europe, demanding the return of works

his dying lover Psyche with a tender embrace. The finish. However, he also was able to express the ardour of art that were looted during the Napoleonic wars.

focus of the sculpture is created by their interlocking that pulsates beneath the lovers’ thin marble skin.
arms and gaze of love. Their smooth bodies and Canova had a distinguished career in Venice, where he
delicate limbs create a sense of young passion in all was commissioned to create public monuments, tombs
its innocent purity; the entire scene is one of effortless, and statues. He also established a school for young
artists. As an emissary of the Pope, he travelled ► Bernini, J-L David, Etty, Powers, Prud'hon, Rodin
spiralling grace. Canova’s sculpture is a fine example

Antonio Canova. b Possagno, 1757. d Venice, 1822. Cupid and Psyche. 1787/93. Marble. hl55 cm. h61 in. Musee du Louvre, Paris
 Caravaggio Doubting Thomas

It is just after the Crucifixion. St Thomas is touching the harsh lighting and dark shadows (known as fished out of the River Tiber. Despite a somewhat
Christ’s wounds to see if they are real. The heads chiaroscuro)-, the background is non-existent. Caravaggio dubious personal reputation (he was frequently in
of Christ and the three Apostles are the focus of the was renowned for his vivid realism and rejection trouble with authority), Caravaggio almost single-
composition. The moment is intense, as the Apostles of idealization, an approach that was revolutionary at handedly brought about a revolution in art. Even
look on St Thomas who, with deeply furrowed brow, the time. He often used coarse peasant types for his today his paintings have the power and immediacy to
plunges his finger into Christ’s side. The drama models of saints and Apostles, and is even said to have astonish us.
of this shockingly realistic detail is heightened by painted one of his Virgins from a drowned prostitute ► Bernini, Ter Brugghen, Hals, Jordaens, Rembrandt

Michelangelo Merisi da Caravaggio b Caravaggio, 1571. d Porto Ercole, 1610. Doubting Thomas. 1599. Oil
on canvas. hl07x wl46cm. h42Vi * w57’/2 in. Stiftung Schlosserund Garten Potsdam-Sanssouci, Potsdam
 ro Sir Anthony Early One Morning

A selection of steel sheets, I-beams and tubes has been floor, its open horizontality marked a notable depart¬ Morris Louis and the sculptor David Smith. The art
bolted together and painted with a uniform coating ure from the traditional carved block. By fabricating he experienced on this trip had a considerable impact
of red. The resulting sculpture is a lyrical arrangement his sculptures in steel, Caro was able to create a more on his decision to abandon the traditional sculptural
of lines and forms; the heavy materiality of the linear form of work, evoking qualities more often materials of clay and bronze, and develop a more
sculpture appears deceptively light. In the early 1960s, associated with abstract painting. During the 1950s gestural form of abstract sculpture.
Early One Morning represented a challenge to conven¬ Caro worked as an assistant to Henry Moore. In 1959
tional sculptural practices. Sitting directly on the gallery he visited the USA where he met Kenneth Noland, ► Deacon, Louis, Moore, Noland, Smith

VTHV'S

1962. Painted steel and aluminium. h289.5 x W619.5 x 1335.25 cm. hi 14 x w244 x 1132 in. Tate, London
Sir Anthony Caro, b New Malden, Surrey, 1924. d London, 2014. Early One Morning.
 Carpaccio Vittore Two Venetian Ladies on a Balcony

The pearl-covered gowns worn by these two ladies are Carpaccio has a straightforward style. His paintings Bellini and like him often used historical or religious
typical of Venetian nobility in the fifteenth century. are not as realistic as those of some of his Florentine subjects as an opportunity to depict everyday
The two sit on a balcony, idly toying with the birds and counterparts, however, favouring picturesque story¬ Venetian life.
animals around them. The point of the picture is not telling over the balanced intellectualism that was
clear - it is neither a portrait nor a story. It has prob¬ gaining ground in that city. His bright colours have
ably been cut from a larger panel, which would have all the charm and vibrancy associated with Venetian
put it in context and made it more understandable. Renaissance painting. He probably trained with Gentile ► Alma-Tadema, Gentile Bellini, Canaletto, Giorgione

Vittore Carpaccio. Active in Venice, 1472. d Venice, 1526. Two Venetian Ladies on o Balcony. cl495/1500. Oil on panel. hl64* w94cm. h64'/2 x w37 in. Museo Correr, Venice
Carra carlo The Metaphysical Muse

In a low-ceilinged room, the main character is a plaster Pittura Metafisica (‘metaphysical painting’) school. phase; Carra was one of the signatories to the
cast of a female tennis player with a mannequin head. Founded by Carra and Giorgio de Chirico, Pittura 1910 Futurist manifesto. From 1924 he turned away
She stands next to a map of Trieste and Istria; Metafisica used disconnected and mysterious images from ‘Metaphysical’ painting towards a more
in the background, a brighdy coloured geometric cone to create a magical and often weird atmosphere. Carra heightened realism, inspired by the Italian masters
stands behind a canvas painted with factories. had met De Chirico in 1917, and swifdy adopted of the early Renaissance.
The irrationally juxtaposed and dream-like images are his imagery of mannequins set in claustrophobic
curiously disturbing, and link this painting with the spaces. His work had earlier passed through a Futurist ► Balia, Boccioni, Brauner, De Chirico, Kahlo, Wadsworth
 Carracci Annibale Christ Appearing to Saint Peter on the Appian Way

Christ is shown bearing the Cross as he appeared in a represent the artist’s desire to bring back the Classical cousin Lodovico, Annibale Carracci founded an
vision to St Peter. Upon being asked where he was spirit to seventeenth-century Rome. His style is important academy of fine arts in Bologna in 15 9 5
going, Christ said to St Peter, ‘I am going to Rome characterized by a fusion of naturalism and Classicism. The academy trained a number of artists, many
to be crucified again.’ The artist shows great sensitivity In a letter he spoke of his admiration for Correggio of whom were to form the great school of
to detail in this painting, particularly in the landscape. and Titian: ‘I like this straight-forwardness and this seventeenth-century Baroque Bolognese painting.
The harmonious composition and the beautiful figures purity that is not reality and yet is life-like and natural,
recall the work of Raphael and Michelangelo, and not artificial or forced.’ With his brother Agostino and ► Correggio, Raphael, Reni, Titian, Vouef

100

Annibale Carracci, b Bologna, 1560. d Rome, 1609. Christ Appearing to Saint Peter on the Appian Way. 1601 -2. Oil on panel. h77.4 * w56.3 cm. h30'/2 x w22 in. National Gallery, London
Cartier-Bresson Henri Juvisy, France

Four people, more than likely two married couples, even closer towards the viewer. Taken two years after artist Andre Lhote. Inspired by his association with
picnic on the bank of the Seine. Below them is a small the French government passed a law guaranteeing the Surrealists, in the 1930s he turned to photography.
rowing boat; attached to it are numerous fishing rods. workers two weeks of paid vacation a year, Cartier- Using a handheld Leica camera, he became a pioneer
Although they have not responded to the photog¬ Bresson’s photograph can be seen to capture an of an informal, candid style of modern photography
rapher’s presence, the image has been taken from important moment in the country’s social history. The that looked to capture the ‘decisive moment’.
close up. The shallow and flattened space of the son of a wealthy textile manufacturer, Cartier-Bresson
composition creates the effect of pushing the group studied painting at the private art school of the Cubist ► Araki, Evans, Frank, Sander, Tissot

Henri Cartier-Bresson, b Chanteloup-en-Brie, 1908. d Montjustin, 2004. Juvisy, France. 1938. Gelatin silver print. h23.3 * W34.8 cm. h9'/s * w!3%in. Museum of Modern Art, New York, NY
 Cassatt Mary Woman Sewing

The woman here has been caught in a quiet moment with Edgar Degas, who had a great influence on influenced by Japanese woodcuts, and excelled in
as she does her sewing. It is not a portrait, but a study her style. Cassatt exhibited with the Impressionists making woodcut prints. She is widely credited with
in the interplay of colour and light in an outdoor at their 1874 show and although an American, she popularizing Impressionism in North America.
scene, which would have been painted from life. is classified as part of the French Impressionist
The artist’s realistic approach stems from her studies movement. Many of her paintings show mothers
at the Pennsylvania Academy under Thomas Eakins. with children, painted with a feminine tenderness not
Later, in Europe, Cassatt formed a close association found in other Impressionist work. Cassatt was very ► Chase, Degas, Eakins, Hiroshige, Monet, Morisot

102

Mary Cassatt b Pittsburgh. PA, 1844 d Mesnil-Theribus, 1926. Woman Sewing, cl 880/2. Oil on canvas. h92 * w63 cm. h36Vi x w24% in. Musee d'Orsay, Paris
Castagno Andrea del The Young David

Bold power and strength characterize this image of Artists in fifteenth-century Italy made such decorations to focus on the human form. Castagno was at one time
David with the head of Goliath. These were qualities regularly. However, because they were not made to last, thought to have brutally murdered his teacher. We now
that were highly valued by Florentines at the time; most examples have not survived to the present day. know this story to be untrue, but it may reflect the
they identified with the young, spirited warrior who Castagno is known for his strong, powerful figures. He artist’s violent nature.
overcame the huge giant with a sling-shot. The image painted a number of frescos, which in particular reflect
is painted on a leather shield, to be carried through his sculptural approach to painting. He did not pay
the streets of Florence during festive processions. much attention to either landscape or nature, choosing ► Botticelli, Donatello, Ghiberti, Ghirlandaio, Signorelli

103

Andrea del Castagno. b Castagno, cl 421. d Florence, 1457. The Young David. cl450/7. Tempera on leather mounted on panel, hi 15.6 x w76.9cm. h45'/2 x w30'/4 in. National Gallery of Art, Washington, DC
 Catena Vincenzo The Supper at Emmaus

The artist has used a straightforward composition to other Venetian Renaissance paintings and can be right shows the artist’s inventive colour sense. Catena
highlight a simple meal. The table, glassware and found, for example, in many works by Giovanni appears to have entered into some kind of partnership
setting have all been kept to a minimum. All, that is, Bellini, particularly in his paintings of the Virgin. As with Giorgione at one stage in his career. His works
except the cloth that hangs behind Christ. The with many Venetian paintings of the time, colour and show the influence not only of Giorgione but of other
simplicity of the picture contrasts with the elaborate light are as important to this picture as its composition: Venetian artists such as Titian and Palma Vecchio.
cloth, drawing the viewer’s attention to the Saviour. the play between the blue and yellow of the servant’s
The Cloth of Honour, as it is known, is a feature of clothes and the yellow and purple of the man on the ► Giovanni Bellini, Champaigne, Giorgione, Titian

104

Vincenzo Catena, b Venice, c!480. d Venice, 1531. The Supper at Emmaus. 1520/30. Oil on canvas, hi 30 « w241 cm. h51 » w94% in. Galleria degli Uffizi, Florence
Catl 1 George Ambush for Flamingoes

Creating a pretty red-and-white pattern along a plain destroyed by man. Catlin has taken great care in of native American Indians, and was an early
stretching out to the horizon, a flock of flamingoes presenting the flamingoes in different poses, so as to campaigner for the preservation of Indian tribes.
attend to their nests. Overhead a group of birds fly in express variety and movement and to create rhythm In 1841 he published Manners.. .of the North American
a looping formation across the sky. A hunter and in a painting that is otherwise fairly rigid. A lawyer Indians, illustrated with some 300 of his engravings.
his servant lurk behind a bush, waiting for the perfect by training, Catlin turned to portrait painting and spent
moment to shoot. The hunter is meant as a reminder many years studying and living among the Indians of
of how the beauty of nature can so swifdy be North and South America. He painted many portraits ► Allston, Audubon, Bingham, Cole

George Catlin. b Wilkes-Barre, PA, 1796. d Jersey City, NJ, 1872. Ambush tor Flamingoes, cl 857. Oil on canvas. h48.3 X w67.3cm. h!9 X w26Vi! in. Carnegie Museum ot Art, Pittsburgh, PA
 Cattelan Maurizio La Nona Ora

When Lm Nona Ora (‘The Ninth Hour’) was first Pope, dressed in silken ecclesiastical robes and challenging contemporary society. He delights in
exhibited, it provoked an incendiary response. The clutching a crucifix, has a tragicomic quality - the cultural insubordination, playing the role of the jester
lifelike image of Pope John Paul II struck down representation of universal knowledge and infallibility or trickster to question authority and to reveal uncom¬
by a meteorite, and the broken glass from an imagined felled by a completely random cosmic accident. fortable contradictions at the heart of modern life.
window or ceiling littering the red carpet, was read Cattelan follows in the tradition of Marcel Duchamp,
as an attack on the aged and reactionary pontiff — and the Dadaists and the harlequin jokers of his native
so it was. Now, however, the life-sized figure of the Italy to use humour and satire as a means of ► Broodthaers, Dali', Duchamp, Hirst, G Orozco

106

Maurizio Cattelan b Padua, 1960. La Nona Ora. 1999. Wax, clothing, polyester resin with metallic powder, volcanic rock, carpet, glass. Dimensions variable. Private collection
Cellini Benvenuto Salt Cellar

This beautiful salt cellar is made of two figures - France. The splendour and grace of Cellini’s work which is full of racy anecdotes such as an account
Neptune and Ceres, who represent Water and Earth. is a perfect example of the Mannerist school. The aim of his imprisonment for stealing the papal crown
Their intertwined legs symbolize the combination of these artists was to appeal to the emotions through jewels. Unfortunately, most of Cellini’s smaller works —
of these elements, which together produce salt. Cellini aesthetic effect. This led to the use of elongated figures medals, cups and daggers — were melted down. Many
was a celebrated goldsmith, sculptor and engraver. and sharp colours, as can be seen in the work of late of his larger masterpieces, however, have survived.
He worked for emperors, kings, popes and princes; sixteenth-century artists. A great deal is known about
this particular object was made for King Francis I of Cellini’s tempestuous life from his autobiography, ► Clouet, Giambologna, Parmigianino, Rosso Fiorentino

107

Benvenuto Cellini, b Florence, 1500. d Florence, 1571. Salt Cellar. 1540/3. Gold, enamel and ebony. h26 * w34cm. hi O'/a * wl3'/8in. Kunsthistorisches Museum, Vienna
 Celmins viia Web #3

Vija Celmins’ gossamer cobweb glows with light quality of light. Celmins began her career in New melancholy imagination, conjuring up ghost stories
against a receding darkness. The white centre draws York, in thrall to the dynamic painting of the Abstract and dusty rooms. Her painstaking working method,
the eye inexorably, like a black hole, the strands of Expressionists, but she gradually came to make art creating multi-layered images in graphite, charcoal or
the web radiating out and circumscribing their hub. that recorded what she could see, rather than reflecting oils over many months, results in a fragile luminosity
This is not a metaphorical conception, however. her own internal emotions. Nevertheless, her cobweb that is mesmerizing in its detail.
Like all Celmins’ work, it was created with the dispas¬ works combine the organic geometry of the natural
sionate view of a photographer and attention to the world, precisely and impartially observed, with a ► Close, Marden, Richter, Weston

Vija Celmins b Riga, Latvia, 1939. Web #3. 2000-2. Oil on linen. h38.1 x w45.7 cm. hl5 * wl 8 in. Museum of Modern Art, New York, NY
Cezanne Paul Mont Sainte-Victoire

Purples, blues, yellows and reds create this mountain reproduce the scene, but which evokes its tones subject. He returned to it again and again throughout
in the South of France. Rather than altering the tones and volumes through the interplay of light and shade. his career, producing paintings that were increasingly
of the colours as they changed with the light and Cezanne said that he ‘wanted to do Poussin again, radical in conception. His reduction of nature into
shade, Cezanne changed the colours themselves. from Nature’. He achieved this by combining direct simple geometric shapes, and his use of bold colours,
The mountain and surrounding landscape have been studies of the landscape with a Classical sense of point to the later work of the Cubists and the Fauves.
simplified into geometrical shapes and planes of form. Mont Sainte-Victoire, near the artist’s home
colour. The result is a painting that may not faithfully town of Aix-en-Provence, was Cezanne’s favourite ► Braque, Derain, Hodler, Picasso, Poussin, Vlaminck

Paul Cezanne, b Aix-en-Provence, 1839. d Aix-en-Provence, 1906. Mont Sainte-Victoire. 1885/95. Oil on canvas. h72.8 * w91.7 cm. h285/e x w38'/8 in. Barnes Foundation, Merion, PA
 Chagall ^ Above the Town

Above a town made up of simple wooden houses and was born in Russia and much of his imagery is firmly productive artist, painting and designing mosaics, stage
barns, two fantastical figures fly across the sky. The rooted in the Jewish folklore of his early years. His sets and tapestries. His works can be found in many
man’s hand gendy cups the woman’s breast. They seem style is both sophisticated and childlike, blending public buildings, including the Paris Opera and the UN
to be lovers, perhaps eloping. The quaint and naively reality and dreams into colourful compositions. Headquarters in New York.
ordered town, painted in blocks of colour, with its He was compelled to leave Russia because the state
pretty wooden fencing and warmish tones, shows demanded a certain type of art, and came to divide
Chagall’s interest in fairy-tales and fantasy. Chagall his time between the US and France. He was a very ► Gontcharova, Hodgkin, Rodin, Soutine, Utamaro

Marc Chagall, b Vitebsk, 1887. d Saint Paul-de-Vence, 1985. Above the Town, 1914-18. Oil on canvas. hl41 x wl97cm. h55'/2 x w77'/2 in. Tretyakov Gallery, Moscow
 Chamberlain John Balzanian

Bal^anian, inspired by Rodin’s sculpture of the French dimensional equivalent of Abstract Expressionist Plexiglas, foam and aluminium foil, but he returned to
writer Honore de Balzac (1898), stands with balletic painting and, like his contemporaries Pollock and metal car parts in the mid-1970s. The idea of an innate
poise and strength, the heavy drapery of its crumpled Rothko, he lived his life ‘like going into a spin in connection between the elements of his sculptures
automobile parts expressing the idea not only of a car’. His main inspiration was the abstract sculpture is central to his work, the pieces themselves dictating
Rodin’s sculpture, but of Balzac himself. Chamberlain of David Smith, from whose example he learned their positions and the eventual form of the whole.
was an artist of Hemingwayesque proportions — to manipulate car parts into sculptures. Chamberlain
his sculpture is the instinctual, broad-gestured, three¬ eventually broadened his media to incorporate steel. ► Caro, Deacon, Pollock, Rodin, Smith

John Chamber lain, b Rochester, IN, 1927. d New York, NY, 2011. Balzanian. 1988. Painted and chromium-plated steel. h227.3 * wl57.5 * d 123.2 cm. h89'/2 * w62 * d48’/2 in. Pace Gallery, New York, NY
Champaigne Philippe de The Last Supper

Christ announces to the Apostles that one of them will of the draperies and the rhythmic folds of the table¬ painter at the Court of King Louis XIII of France.
soon betray him. A mysterious air pervades the scene. cloth help the viewer’s eye move across the picture. One of his most well-known paintings is a full-length,
The only light in the picture falls from the window, Champaigne did not paint dramatic scenes like his austere study of Cardinal Richelieu.
barely illuminating the back wall. This sets the figures contemporary artists of the Italian Baroque, but the
in relief and heightens a feeling of drama and tension. dignified, restrained emotions expressed in his work are
While Christ consecrates the bread, the Aposdes rich and powerful. Of Flemish origin, Champaigne
express their feelings without words. The rich colour became a naturalized Frenchman, working as a portrait ► Catena, G David, Domenichino, Guercino

Philippe de Champaigne b Brussels, 1602. d Paris, 1674. The Last Supper. cl652. Oil on canvas, h 158 x w233 cm. h62’/s * w9134 in. Musee du Louvre, Paris
Chardin Jean-Baptiste-Simeon The Young Schoolmistress

The subject is simple: a young woman teaching a child Vermeer. Only the key of the cabinet breaks the Chardin’s work has regained popularity because of its
to read. Painted with great honesty, in a simple and magical spell of serenity and repose. Chardin was almost abstract nature. He is widely considered to be
direct style, the artist conveys a strong emotional a leading painter of genre and still-life scenes in the greatest still-life painter of his day.
link between the two figures. There is little background eighteenth-century France. His simple, unsentimen¬
detail, and the thickly layered but carefully planned talized compositions are rich in feeling; with their
brushstrokes create depth and solidity. It is a silent calm, balanced tonal range they embody an acute
painting, similar in its timelessness to the work of Jan analysis and understanding of form. In this century, ► De Hooch, Lancret, La Tour, Metsu, Vermeer

Jean-Baptiste-Simeon Chardin, b Paris, 1699. d Paris, 1779. The Young Schoolmistress. cl736/7. Oil on canvas. h62 * w66 cm. h24% x w26'/s in. National Gallery, London
 William Merritt A Friendly Visit

Two elegant women sit on a sofa exchanging chit-chat. painted them may be particularly North American portrait when he met him in London in 1885. Chase
Sunlight fills the room, lightening the tone of the characteristics, but they have been injected into was particularly admired for his portraits, landscapes
artist’s bright palette. This is not a formally posed an essentially European style. Chase worked in North and the type of everyday scene shown here. He was
scene, but one typical of everyday life. Like the America throughout his long and active career. He also a highly influential teacher.
Impressionists, Chase used loose brushwork and pastel was particularly influenced by the painter James Abbott
colours to portray the world around him. The infor¬ McNeill Whistler, and for a time adopted that artist’s
mality of his subjects and the vigour with which he flat, decorative style. He even painted Whisder’s ► Cassatt, Manet, Sargent, Tissot, Whistler

William Merritt Chase, b Williamsburg, IN, 1849. d New York, NY, 1916. A Friendly Visit. 1895. Oil on canvas. h76.8 * W122.5 cm. h30V4 x w48'/4 in. National Gallery of Art, Washington, DC
 De Ch IT! CO Giorgio The Uncertainty of the Poet

A pile of bananas and a Classical plaster cast of a exoticism; the train, a voyage. The outlines of all this De Chirico’s enigmatic, dream-like paintings pro¬
female torso appear in front of an arcade. The horizon strange imagery are drawn with vigour. However, it foundly influenced the Surrealists of his day. From
is defined by a wall. Behind this, a train disappearing is the shadows, monumental and menacing as they 1925, however, he adopted a more traditional style
into the distance can just be seen. Such a collection sweep across the picture, that add power and mystery. and his later paintings included portraits, horses on
of objects may appear arbitrary and nonsensical, but De Chirico and Carlo Carra founded a movement the seashore and still lifes.
each has a symbolic meaning: the plaster cast called Pittura Metafisica (‘metaphysical painting’) that
symbolizes a human presence; the bananas represent was known for its imaginative and mysterious imagery. ► Carra, Dali, Delvaux, Magritte, Tanguy, Wadsworth

Giorgio de Chirico, b Volo, 1888. d Rome, 1978. The Uncertainty of the Poet. 1913. Oil on canvas, hi06 x w94 cm. h413/6 * w34 in. Tate, London
Christo & Jeanne-Claude The Pont Neuf Wrapped, Paris

Partners in both art and life, Christo & Jeanne-Claude sculpture. By covering it in fabric, the artists drew objects is typical of the New Realists, a movement
became world-famous for their sculptural use of people’s attention to the sculptural details of the founded in i960. In 1976 they completed Running
fabrics on a grand scale. Shown here is a work they bridge, while also creating a majestic and mysterious Fence, comprising 40 km (2 5 miles) of white fabric
created by wrapping one of the great landmarks object of beauty. It also served to emphasize the running over the Californian hills. Christo & Jeanne-
of Paris — the Pont Neuf — in woven nylon, secured importance of preserving such historical monuments. Claude first collaborated together as artists in 1961.
by rope. The temporary transformation of the bridge Their work encourages us to look at objects in a new
into a work of art was an exciting new way of creating and different way. This notion of transforming familiar ► Gentile Bellini, Buren, Hiroshige, Klein, Long, Matta-Clark

Christo & Jeanne-Claude. Christo Javacheff, b Gabrovo, 1935. Jeanne-Claude deGuillebon. b Casablanca, 1935. d New York, NY, 2009. The Pont Neuf Wrapped, Paris. 1985. Woven nylon and rope. Now dismantled
Ch urch Frederick Twilight in the Wilderness

The sun sets over the distant horizon, leaving behind After exploring his native New England, he he saw with amazing skill, changing the texture of his
a blood-red and orange sky reflected in a wide river. went in search of dramatic and panoramic landscapes paints, for example, according to the different natural
Gnarled tree branches stand out against the back¬ further afield. He explored the length and breadth forms he described. The epic grandeur and sublime
ground like skeletons. Church has revealed the power of the American continent: he painted the volcanoes drama evoked by his work epitomize the ideals of the
of nature in all its glory. The only pupil of Thomas of Mexico, the tropical jungles of South America, Romantic movement.
Cole, Church chose to banish man from his com¬ the snow-covered peaks of the Andes and the icebergs
positions and concentrate on nature in its purest state. of Labrador. Church recorded the uncharted marvels ► Cole, Friedrich, Grimshaw, J Martin, Turner

Frederick Church, b Hartford, CT, 1826. d New York, NY, 1900. Twilight in the Wilderness. 1860. Oil on canvas, hi 01.6 x wl 26.6 cm. h40 * w49% in. Cleveland Museum of Art, Cleveland, OH
 Cimabue The Santa Trinita Madonna

Originally gracing the high altar of the church of leaf would have helped to make it more visible in the for his magnificent figure of St John — part of a large
Santa Trinita in Florence, this image was intended to dark church. The fine gold lines in the Virgin’s robe are mosaic in the apse of Pisa Cathedral. Legend has it
inspire contemplation and devotion. The Virgin and reminiscent of the rigid Byzantine style, yet the artist’s that he taught Giotto, who in turn developed Cimabue’s
Child sit on an ornate throne flanked by graceful attempt to put the figures in some kind of three- naturalistic approach to painting the human form.
angels. Below, four bearded prophets look out from dimensional space points towards developments that
an arcade as they, too, contemplate the divine image. were to flower during the Renaissance over a century
The picture’s simplicity and abundance of gold later. Cimabue’s origins are obscure. He is also known ► Campin, Duccio, Giotto, Lochner

Cimabue. Active in Florence, 1272. d Florence, 1302. The Santa Trinita Madonna. cl260/80. Tempera on panel. h385 x w223 cm. h 151V4 x w87% in. Galleria degli Uffizi, Florence
Claesz Pieter A Vanitas Still Life

A human skull dominates this odd array of objects. this work is the transience of earthly life: the skull would often be rich with symbolic meanings that
Bathed in warm tones, with a ray of sunlight sweeping represents death; the overturned glass symbolizes life would have been readily understood at the time.
across them, the objects are painted in shades of pale flowing away; the watch reminds the viewer that time Today, these paintings are more commonly admired
brown. The artist was renowned in the Netherlands is forever moving on. Dutch seventeenth-century for their sheer virtuosity.
for still lifes such as this. These were often painted in painters delighted in the depiction of everyday objects,
almost monochrome tones, lending a sense of mystical often treated with great illusionistic skill. Such
harmony to the objects he depicted. The theme of paintings were not overtly moralizing in tone, but ► Hals, De Heem, Hirst, Kalf, Ruysch, Snyders

Pieter Claesz. b Burgsteinfurt, 1590. d Haarlem, 1661. A Vanitas Still Life. 1645. Oil on panel. h39 x w61 cm. h 151/3 x w24 in. Private collection
 Claude Lorrain Landscape with a Sacrifice to Apollo

This magnificent, spacious scene is an example of a careful colour-range of greens, blues and browns. of his vision were a source of great inspiration to
Classical landscape painting at its best. It is carefully The figures, representing a scene from Classical English eighteenth- and nineteenth-century landscape
constructed, using a balance of strong horizontals and mythology where Psyche’s father makes a sacrifice to painters. Upon seeing the painting shown here,
verticals, while areas of light and shade help to move invoke Apollo’s help in finding a husband for his JMW Turner remarked that it seemed ‘beyond the
the viewer’s eye across and into the scene. Claude has daughter, are almost incidental to the setting. Claude power of imitation’.
captured the solemn grandeur of the Roman country¬ was a Frenchman, but spent his long creative life in
side. The delicate atmosphere is developed from and around Rome. His pastoral scenes and the poetry ► Allston, Constable, Cozens, Poussin, Turner

120

Claude Lorrain (Claude Gellee). b Chamagne, 1600. d Rome, 1682. Landscape with a Sacrifice to Apollo. 1662. Oil on canvas. hi 76* w223cm. h69 x w873/< in. Anglesey Abbey, Lode
 Clemente Francesco Self-portrait: The First

The naked artist fixes his penetrating gaze on the manner, while the birds symbolize the supremacy painting. This revival may be seen partly as a reaction
viewer, who feels compelled to return his look. A host of subjectivity and imagination over reason. The work to non-figurative Abstract Expressionism, which
of different birds rest on the artist’s shoulders. The is an example of the Neo-Expressionist trend known dominated the art scene for many years.
first in Clemente’s series of large, calligraphically ren¬ as Transavanguardia, which focuses on expressive
dered drawings of himself, this picture illustrates the figurative work done on a large scale. Towards the
artist’s almost erotic drive towards self-exploration and end of the 1970s Clemente and other Italian Neo-
self-exposure. The figure is treated in an expressive Expressionists largely led the way in reviving figure ► Baselitz, Durer, Kirchner, Pollock, Schiele, Schnabel

Francesco Clemente, b Naples, 1952. Self-portrait: The First. 1979. Gouache, watercolour and ink on paper mounted on canvas, hi 12 x wl47cm. h44'/e * w57% in. Private collection
 Close Chuck Big Self-Portrait

The artist, his hair bedraggled and a cigarette held the artist committed himself to the creation of large- that presented parallels with the systematic working
between his lips, fixes our gaze. His position in relation scale photorealist portraits, of which the current work methods of the Minimalist artist, the meticulous detail
to ours is somewhat unclear. Does he stand above us is the earliest example. By working from photographs of his finished portraits imbues them with
looking down? Or is it he who is below us? In actuality - which the artist overlays with a grid in order to psychological intensity.
the viewer occupies the position of the camera held transpose accurately the image to canvas — Close
in the artist’s hands. In 1967 Close moved to New creates portraits in which the gestural contribution
York. Abandoning the abstract paintings of his youth, of the painter is denied. Whilst this was an approach ► Cahun, Leyster, Rembandt, Richter, Rosa

Chuck Close b Monroe, WA, 1940 Big Self-Portrait. 1967-8. Acryl icon canvas. h273 x w213 cm. h 1071/2 * w83'/2 in. Walker Art Center, Minneapolis, MN
Clouet Francois Portrait of Francois I on Horseback

Sitting astride an ornately decorated horse and dressed and elbow and the figures on his arms and chest. four Kings of France - Frangois I, Henri II, Frangois
in an equally splendid suit of armour, Frangois I of Clouet has not only paid homage to his master by II and Charles IX — and achieved great fame for his
France looks at us with a slightly bemused expression depicting him in all his finery but has placed the ceremonial portraits and striking drawings.
on his face. Clouet is renowned for his powers of horse and rider on the top of a hill with a landscape
observation and detailed technique. Here he has stretching behind him to imply that his King was
rendered the intricate patterns of the King’s attire with ruler of an extensive kingdom. Clouet was a prolific
dazzling precision, especially the heads on his kneecap painter of royal portraits. He was Court painter to ► Van Dyck, Van Eyck, Gericault, Holbein, Lawrence

Francois Clouet, b Tours, c!522. d Paris, 1572. Portrait of Francois I on Florseback. cl540. Oil on panel. h27* w22cm. hl0.6 * w8.7in. Galleria degliUffizi, Florence
 Thomas Scene from Last of the Mohicans

Massive outcrops of rock overwhelm a circle of the leading painter of the Hudson River School. to Anglicanism, his painting became increasingly
small figures in this craggy, mountaintop scene bathed This group of painters, who worked mainly around religious in feeling. He visited England, France and
in an autumnal glow of warm colours. The artist has New England, were fond of river and mountain scenes Italy, but was not greatly influenced by what he saw
taken great care to show every natural detail, evoking untouched by man — particularly by Europeans. there. His paintings had a strong Romantic quality,
the awe-inspiring vastness of the American wilderness. Cole aimed to bring religious and moral meaning to full of drama and grandeur.
The picture illustrates a scene from James Fenimore his paintings. He once wrote that ‘the wilderness is yet
Cooper’s The Tast of the Mohicans. Cole is considered a fitting place to speak of God’, and after converting ► Allston, Bierstadt, Church, Cozens, Friedrich

Thomas Cole b Bolton-le-Moors, 1801 d Catskill, NY, 1848. Scene from Last of the Mohicans. 1827. Oil on canvas. h64.5 * w89 cm. h253/s * w35'/i6 in. Wadsworth Atheneum, Hartford, CT
 Constable John The Lock

A man struggles to open a lock, as his companion of colour and rapid brushstrokes he was able to paintings were accepted with enthusiasm. Constable’s
tries to hold a barge still in a current of surging water. capture the fleeting mood of a scene. Behind these landscapes had a strong influence on French landscape
With its silvery highlights and rich colouring, this speckled, flecked bits of paint, however, lies a carefully painting, and his swift gestures and use of light to
picture is a celebration of the freshness and beauty of composed structure. Constable enrolled at the Royal create a particular mood were an inspiration to the
nature. Perhaps more than any other landscape painter, Academy in 1799 and for the first decade of his Impressionists.
Constable sought to express his love of the open painting career he failed to sell any work in England.
countryside. Through an apparently spontaneous use This was not the case in Paris, however, where his ► Corot, Daubigny, T Rousseau, Ruisdael, Turner

John Constable, b East Bergholt, 1776. d London, 1837. The Lock, cl824. Oil on canvas. hl42 * Wl20cm. h56« w47‘/2 in. FundacionColeccionThyssen-Bomemisza, Madrid
 Copley John Singleton The Death of Major Pierson

The limp body of Major Pierson is held by his generals in the service of a country whose flags are patriotically from modern history - such as The Death of Major
as his life slowly ebbs away. His furious black servant waving overhead. Copley first established his repu¬ Pierson — in the grand manner usually reserved for
fires back at the enemy. The painting portrays the tation as a portrait painter, becoming known for his Classical subjects.
English repelling a French invasion on Jersey in 1781. direct, precise style and ability to capture the essence
A truly dramatic scene, it is symmetrically composed, of his sitters. In 1774 he left America and settled
clearly lit and described in great detail. Copley colour- in England, embarking upon a career as a history
fully chronicles the heroism of the young officer killed painter. Copley was among the first to treat subjects ► J-L David, Delacroix, Uccello, West

126

John Singleton Copley, b Boston, MA, 1738. d London, 1815. The Death of Major Pierson. 1782-4. Oil on canvas. h252 * w366 cm. h99 x wl 44 in. Tate, London
 Cornel Joseph Untitled

A frugal assortment of stamps, newspaper cuttings come together in a magical and dream-like way. boxes become poetic theatres or settings wherein are
and other objects with no particular relevance to each This is Cornell’s genius, and why he has proved so metamorphosed the elements of a childhood pastime.’
other is placed in a wooden box. This container acts popular over the years. The randomness of these
as a metaphor for the whole world, inhabited by these ‘assemblages’, as they are known, reflects Cornell’s
strange items. It is also a treasury of curiosities that is interest in the irrationality of Surrealism. Nevertheless,
compelling to explore and evokes a mood of nostalgia. a sense of order and precision pervades pieces such
The fragments of once ornamental or beautiful objects as this. Of his own work Cornell once said, ‘Shadow ► Blake, Brauner, Rauschenberg, Schwitters

Joseph Cornell, b Nyack, NY, 1903. d Flushing, NY, 1972. Untitled. cl950. Mixed media in a wooden box. h38 * w27cm. hl5 * wlOVi in. Private collection
 Jean-Baptiste-Camille Ville d'Avray

In this landscape of great delicacy, soft pastel tones career he continued to paint the scenery in the area. landscapists, and the first of the Impressionists’.
and feathery trees evoke a dreamy, dewy, early-morning Corot was one of the greatest landscape painters Indeed, aspects of his later paintings can be seen in
atmosphere. A pale, silvery sky is reflected in the lake, of the nineteenth century. His work spanned practic¬ the work of Alfred Sisley and Claude Monet. Corot
and the sun shining on the houses to the left recalls ally the entire century, and he was inspired by and is thought to have painted around 3,000 canvases
Corot’s oil sketches of Italian buildings. Corot’s father inspired generations of painters. His grounding in the during his career.
bought a country house in 1817 at Ville d’Avray near academic tradition, together with his clear, fresh vision,
Paris, the site of this painting. Throughout his long have led him to be called the ‘last of the Classical ► Boudin, Claude, Daubigny, Monet, Pissarro, Sisley

Jean-Baptiste-Camille Corot b Paris, 1796. d Paris, 1875. Ville d'Avray. cl867/70. Oil on canvas. h49 x v/65 cm. hl9Vi * w25’/2 in. National Gallery of Art, Washington, DC
 Correggio The Nativity

Christ illuminates this painting with a divine light, a of Correggio’s late style. The movement and drama St John the Evangelist, Parma, which is a dizzying
light so bright that the woman at his feet has to shield of the work look forward to the seventeenth-century mass of swirling figures. Correggio worked for most
her eyes from its glare. The asymmetrical composition Baroque style. Best known for his paintings executed of his life in Parma, where he was one of the city’s
of the scene is full of movement. The staff of the in cupolas and the ceilings of churches, Correggio outstanding painters.
shepherd leads the viewer’s eye into the composition, aimed to give the viewer the sensation of looking up
directing it up towards the angels, who in turn point into the glory of Heaven. One of his greatest works
down towards the child. This vibrant picture is typical is a fresco on the inside of the dome of the church of ► Caravaggio, Carracci, Elsheimer, Parmigianino

Correggio (Antonio Allegri), b Correggio, c!489. d Correggio, 1534. The Nativity. 1530. Oil on panel. h256 * wl88 cm. h 100% * w74 in. Staatliche Kunstsammlungen, Dresden
 Del Cossa Francesco May

It is May. Apollo the sun god sits atop a chariot, to depict the activities of the Court throughout the underpaid for his work on the fresco cycle, lodged
presiding over courtiers, cherubs and gentlemen. The year by using astrological signs and deities. The fresco a letter of complaint with the Duke. He subsequently
nudes below represent the astrological sign of Gemini. is painted in bright colours, in a slightly unrealistic style left Ferrara and spent the rest of his days in Bologna.
This pageant is one in a series of twelve frescos that that is typical of Cossa and his fellow artists of
cover the walls of the Sala dei Mesi (‘room of the that area. The principles of perspective, important to
months’) in the palace of the Duke Borso d’Este in Florentine art of that time, do not seem to have been
Ferrara. Cossa was commissioned with other artists used. We know that Cossa, upset that he had been ► Limbourg, Mantegna, Piero della Francesca

130

Francesco del Cossa b Ferrara, cl435. d Bologna, cl478. May. 1470s. Fresco. h216 * w320 cm. h85 x wl26 in. Palazzo Schifanoia, Ferrara
 Courbet Gustave Bonjour, Monsieur Courbet

In May 1854 Courbet arrived at Montpellier as the was exhibited at the Paris World Exhibition of 1855. asked to include angels in a painting for a church,
guest of Alfred Bruyas, an important patron and Soon Courbet was heralded as the champion of a he is said to have replied, ‘I have never seen angels.
collector of the arts. Courbet has shown himself with new, anti-intellectual type of art that was free from die Show me an angel and I will paint one.’
a walking-stick and knapsack at the moment he was shackles of academic history and religious painting.
met on the road by his host, his servant and dog. In turning away from literary subjects to the natural
Courbet’s choice of subject, painted with stark realism world around him, Courbet was an important influence
and honesty, caused a great stir when the painting on Edouard Manet and the Impressionists. When ► Daubigny, Manet, Millet, T Rousseau

Gustave Courbet, b Ornans, 1819. d Tourde Peitz, 1877. Bonjour, Monsieur Courbet. 1854. Oil on canvas, hi29 * wl49 cm. h50% * w58% in. Musee Fabre, Montpellier
 John Robert Between Chamonix and Martigny

A traveller on horseback and his companion cross a by the all-powerful presence of these mountains. latter claimed that he was the ‘greatest genius that
pass above the tree-line in the French Alps. Their A melancholy and poetic painter. Cozens’ restricted ever touched landscape’. Cozens painted landscapes
diminutive size and inconsequence are stressed by the palette of subdued colours evokes the magnitude in watercolour almost exclusively; he is known
overhanging rock above them and the monumentality of space and the unassailability of nature. Cozens is to have executed only two works in oil, one of which
of the spiked, snowy summit of the Aiguille Verte. considered one of the most talented English landscape is now lost.
From 1776 to 1779 Cozens travelled through painters of the eighteenth century. He had a marked
Switzerland to Italy via the Alps and was overawed influence on J M W Turner and John Constable; the ► Church, Constable, Friedrich, J Martin, Turner

John Robert Cozens b London, 1752. d London, 1797. Between Chamonix and Martigny. cl776/9. Watercolour on paper. h43.5 * w61.6cm. hl7Vn x w24V4 in. Private collection
 Cragg Tony Eroded Landscape

The artist has concocted an urban landscape out of support the structure and give the composition the idea of consumer waste, yet they are often
a collection of containers of frosted glass. The group amazing symmetry and stability. The entire composi¬ arranged with a delicate sense of poetry, and a
of objects has been arranged to evoke feelings of both tion takes on the feel of a Greek temple, so sensitivity to the beauty of still life.
familiarity and strangeness. The glass shelf could be stabilizing is their influence. Cragg has specialized
found in any home. It too might be displaying objects in the arrangement of industrial objects. His works
that mean something to their owner, but not to the are an exploration of the space between reality and
viewer. The two large vases at the bottom right and left the imagination. His compositions frequently evoke ► Bourgeois, Caro, Deacon, Morandi, Smith

Tony Cragg. b Liverpool, 1949. Eroded Landscape. 1992. Glass. h43 x wl32cm. b!6%* w51%in. Lisson Gallery, London
 nacn Lucas the Elder Venus

Venus wears only an elaborately jewelled hairnet the Classical spirit of the day, and for this reason produced his best work early in his long career, there¬
and necklaces. She is coyly holding a diaphanous veil his nudes sometimes seem almost primitive. The after leading the easy life of a Court painter. He is
and looks out seductively at the viewer. Her body choice of a mythological rather than a religious subject called Lucas the Elder because he was the first
is idealized, perhaps because artists at this time rarely for this picture may have been because the patron in a dynasty of artists who carried on his traditions
used live female models. Nude women were not often was Protestant. We know little about Cranach other and style.
shown unless they appeared in a narrative scene or than that his influence in Protestant Germany
as mythical goddesses. Cranach seems to have ignored was widespread. He seemed to appear suddenly, and ► Baldung, Durer, Grunewald, Leighton

Lucas Cranach the Elder, b Kronach, 1472. d Weimar, 1553. Venus. 1532. Oil on panel. h37 * w25cm. hl4'/> * w9% in. Stadelsches Kunstinstitut, Frankfurt
 Cuyp Aelbert Peasants and Cattle by the River Merwede

This peaceful country scene is bathed in the golden play of light and shade on the cows, which almost and around his native Dordrecht. Cuyp’s landscapes
glow of evening sunlight. The warm light permeates appear to radiate the light of the sun. Cuyp is were first appreciated and bought by British collectors
every detail of the composition and creates a luminous considered one of the most important seventeenth- in the late eighteenth century. As a result he has since
effect, very different from the cool blues and greens century Dutch landscape painters and was influenced then had an incalculable effect on British art.
of Cuyp’s contemporaries such as Meindert Hobbema. by Jacob van Ruisdael and Jan van Goyen in their
The apparendy random placement of the animals was close scrutiny of nature. He is particularly admired for
in fact closely studied by the artist in order to show the his river and town views, which he painted mainly in ► Bierstadt, Claude, Van Goyen, Hobbema, Ruisdael

Aelbert Cuyp. b Dordrecht, 1620. d Dordrecht, 1691. Peasants and Cattle by the River Merwede. cl658-60. Oil on panel. h38.1 * w50.8 cm. h 15 x w20 in. National Gallery, London
 Salvador Lobster Telephone

A plaster lobster has been attached to the receiver example he intentionally positioned the genitalia of Hitchcock and Walt Disney. The artist produced
of a telephone; a slight modification has turned an the lobster in line with the mouthpiece of the receiver. several versions of the Lobster Telephone. The example
everyday object into something ludicrous. An incessant Whilst he made a variety of Surrealist objects, the artist below belonged to Dali’s important English patron,
showman, and outspoken member of the Surrealist is best known for his meticulously worked paintings in Edward James.
group, Dali promoted the idea of absurdity and which dream-like scenarios become unnervingly vivid.
the role of the unconscious in art. He also drew dose Dali was also involved in the production of a number
analogies between food and sex, and in the current of films, working on projects with Luis Bunuel, Alfred ► Broodthaers, Cattelan, Duchamp, Magritte, Oldenburg

136

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Salvador Dali, b Figueres, 1904 d Figueres, 1989. Lobster Telephone. 1938. Mixed media, including steel, plaster, rubber and resin, hi 7.8 x w33 * dl7.8 cm. h7« Wl3 x d7 in. Tate, London
Daubigny Charles-Francois The Lock at Optevoz

In this quiet contemplation of nature, a shepherdess to paint outdoors {enplein air), a method that the influence of Camille Corot, who was a great friend.
with her dog is attending to a herd of cows by a lock. Impressionists were later to adopt and to develop It was Daubigny’s vision that later helped to pass on
It is painted with a smooth, creamy technique and to its furthest extreme. Daubigny’s ideals and manner Corot’s genius to the Impressionists.
predominandy cool tones. This dreamy landscape of painting were that of the Barbizon School, who
retains its freshness by Daubigny’s close observation favoured simple, rustic scenes, painted with vigour
of nature; indeed, he executed a full-sized sketch of and immediacy. However, in changing this scene into
the scene on site. In this way, he was one of the earliest one of atmospheric nostalgia Daubigny shows the ► Bingham, Constable, Corot, Pissarro, T Rousseau

Charles-Francois Daubigny, b Paris, 1817. d Paris, 1878. The Lock at Optevoz. 1855. Oil on canvas. h92 * wl62cm. h36'/i * w63% in. Museedes Beoux-Arts, Rouen
 Daumier Honore The Print Collectors

Two elderly gendemen are looking through a folder He was well known and feared for his biting, sarcastic such as Edgar Degas and may be compared with the
of prints in an art dealer’s gallery. It is clear they are portrayals of leading figures of the day, as well as work of Japanese calligraphers in their marvellously
only pretending to be knowledgeable. The picture may for his comments on political issues. Daumier had the free handling.
have been the artist’s own bitter comment on his rare gift of being able to express in pictures what
inability to sell his works to the newly rich middle would take hundreds of words. He was also a fine
classes. Daumier was a supreme satirist, able to capture painter and sculptor. His cartoon lithographs, of which
a person’s character with a single stroke of his pen. he produced around 4,000, were collected by artists ► Degas, Hogarth, Hokusai, Toulouse-Lautrec, Utamaro

138

Honore Daumier b Marseille, 1808, d Valmondois, 1879, The Print Collectors, cl 878. Inkand wash on paper. h35 * w32 cm. hl3% x wl2'/2 in. Victoria and Albert Museum, London
David Gerard The Marriage Feast at Cana

This picture depicts an episode from the Bible, but time to include the patrons in the painting, usually popular, and he excelled in painting landscapes.
all of its characters wear contemporary dress. The positioned as if kneeling in front of the altarpiece. Although the city of Bruges was in decline,
intricate details of their garments have been executed David’s rich colours and meticulous attention to detail David’s workshop continued to be successful,
with minute precision. The donors who commissioned are typical of northern painting of the fifteenth and supplying paintings to other countries.
the painting have been included as guests at the early sixteenth centuries. He was one of the masters of
feast, and can be seen kneeling at either side of the the time, and his compositions were copied repeatedly.
composition. It was usual in the Netherlands at this His domestic scenes from the life of Christ were very ► Bouts, P Bruegel, Van Eyck, Van der Goes, Memling

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139

Gerard David, b Oudewater,cl450/60. d Bruges, 1523. The Marriage Feast at Cana. c!511. Oil on panel. hlOO x wl28cm. h39'/4 * w50>/2 in. Musee-du Louvre, Paris
 Jacques-Louis The Death of Marat

Jean-Paul Marat, one of the most passionate leaders admission to the house. The bright lighting and He voted for the execution of Louis XVI and was
of the French Revolution, was a personal friend of contrasting plain, dark background highlight these an ardent supporter of Napoleon, whom he painted
David. He was stabbed to death in his bath, and this details. David denounced the flowery Rococo style of a number of times.
powerful image commemorates his murder. David has the previous generation and led a return to Classical
included only the most important elements to tell the ideals. These were expressed with realism, a strong
story: the limp body, the bloody wound, the murder sense of composition and crisp handling of paint.
weapon and the letter which the murderer used to gain David was also an active political revolutionary. ► Canova, Delacroix, Gericault, Ingres, Powers, Prud'hon

140

Jacques-Louis David, b Paris, 1748. d Brussels, 1825. The Death of Marat. 1793. Oil on canvas, hi65 x wl28.3 cm. h65 * w50’/2 in. Musees Royauxdes Beaux-Artsde Belgique, Brussels
Davis Stuart Egg Beater No. 4

Ambiguous colours and shapes stand together in influence of Cubist fragmented shapes, although artist in ten years. Davis used contemporary American
this delightful interplay of form, line and depth. Davis has developed these through the humour, zest life as his subject matter, painting everything from
Individual elements have been crystallized into an and zany sounds of jazz, which he was passionate petrol stations to landscapes.
abstract whole created from blocks of flat colour and about. Painted in 1927 and 1928, the ‘Egg Beater
precise shapes. These invite the eye to zip around Series’ was based on the shapes of an egg beater, a fan
the canvas, following the angular movements of the and a pair of rubber gloves and demonstrated the first
egg beater. Much of the artist’s work shows the abstract compositions to be created by an American ► Braque, Feininger, B Nicholson, Picasso

Stuart Davis, b Philadelphia, PA, 1894. d New York, NY, 1964. Egg Beater No. 4. 1928. Oil on canvas. h68 x w97cm. h27* w38'/s in. Phillips Collection, Washington, DC
 Deacon Richard Fish Out of Water

Although this sculpture wears its construction with them an interest in the objects of everyday life. sculptures suggest a repertory of body parts —
on its sleeve — glue seeps out between layers of bent His works use the construction techniques of boat¬ from ribcages to genitalia. Rather than representing
hardboard, and hundreds of rivets keep the whole building or aviation. Like drawings in space, they trace anything specific, Deacon’s forms suggest images,
from springing apart - its bulging, rib-like structure outlines that expose frameworks, echoing engineering emotions and memories which are, of course, different
makes it distinctly organic, like a skeleton blown structures, and form curvilinear skins that enclose for each viewer.
dry by a desert wind. One of a generation of sculptors volumes, evoking pots and vessels. The body is also
who emerged in Britain in the 1980s, Deacon shares a constant motif. Often room-sized in scale, these ► Bourgeois, Colder, Cragg, Serra, Smith

Richard Deacon, b Bangor, 1949. Fish Out of Water. I986/Z. Laminated hardboard. h245 * w350 cm. h96'/2 * w!37% in. Hirshhorn Museum and Sculpture Garden, Washington, DC
Degas Edg ar The Rehearsal

The artist is giving the viewer a secret glimpse into edge of the canvas, and truncated legs appear at the ballerinas or ballets themselves; what fascinated him
a rehearsal studio. We hide with him, in the shadows, top of the stairs — had he waited only a few seconds was the movement of abstract forms and shapes and
watching the fluid movement of the slim, supple more, it seems, another dancer would have walked into the colours’ graceful harmonies.
limbs and graceful bodies of the young ballet dancers. the picture. The painting is executed with vibrant,
Degas has depicted the dancers from unusual angles rapid strokes of pastel and some areas have merely
and viewpoints. The composition appears totally been sketched in. The cool tones and lack of formality
random: the figure on the far right is cut off by the are refreshing. Degas’ real interest was not in the ► Hiroshige, Laurencin, Toulouse-Lautrec, Whistler

143

Edgar Degas, b Paris, 1834. d Paris, 1917. The Rehearsal. 1873-4. Pastel on canvas.;. h59 x w83.8 cm. h23'/s * w33 in. The Burrell Collection, Glasgow Museums and Art Galleries, Glasgow
 Delacroix Eugene The Battle of Taillebourg

So real is this scene of the historic victory of Louis it shows the Romantic spirit of Delacroix, who showed thirty-six canvases in one room. His journals
IX over Henry III of England that the battle cries managed to free himself from the stiff Classicism provide a vivid commentary on the social, intellectual
can almost be heard. Despite its vast size, the that dominated French early nineteenth-century art. and artistic world of Paris in the first half of the
painting is compactly composed. A whirling mass He was much inspired by Peter Paul Rubens’ colour nineteenth century.
of figures brings our attention to the focal point at and loose brushwork, as well as by the landscapes
the centre, dominated by Louis on his white horse. of John Constable and Richard Parkes Bonington.
Executed with great gusto and passion in warm tones, At the Paris World Exhibition of 1855 Delacroix ► Bonington, Constable, Copley, Gericault, Rubens

144

Eugene Delacroix b Charenton-St-Maurice, 1798. d Paris, 1863. The Battle of Taillebourg. 1835/7. Oil on canvas. h485 * w555 cm. hi91 x w218’/2 in. Musee National et Domaine de Versailles, Versailles
 Delaunay Robert Homage to Bleriot

In this apparently abstract composition, swirling spirals undertaken by Louis Bleriot in 1909. Artists often and bore no relation to the tangible world. This
and rotating discs of colour form a lyrical pattern used paper to jot down ideas and work out compos¬ style of painting, which was closely related to music,
across the surface of a sheet of paper. On closer itions. This watercolour is a preliminary sketch was called Orphism, a term invented by the poet
inspection we can see the Eiffel Tower on the right and for a large collage of the same title that hangs in the Guillaume Apollinaire.
the wings and propeller of an aeroplane on the left. Kunstmuseum in Basel. Delaunay developed his use
These combine with the floating forms in the sky of colour to create purely abstract paintings whose
to celebrate the first flight across the English Channel, shapes and forms originated from his imagination ► Klee, Kupka, Marc, Nash, Seurat, Signac

Robert Delaunay, b Paris, 1885. d Montpellier, 1941. Homage to Bleriot. 1914. Watercolour on paper. h78 x w67 cm. h303/a x w26’/3 in. Musee d'Art Moderne de la Villede Paris, Paris
Delvaux Paul Venus Asleep

In a moonlit town Venus lies asleep, watched over beautiful, images that were inspired by dreams and known for his dream-like images of beautiful, often
by a skeleton and a dressmaker’s dummy. She lies with the subconscious. Delvaux came late to Surrealism, naked, young women, usually positioned in front
her legs open, dreaming of the seduction of Death. after experimenting with Impressionism and then of meticulously rendered buildings.
Perhaps it is the combination of youthful female Expressionism. He was popular in fashionable art
beauty and death, of desire and horror, that makes circles after the Second World War, when Surrealism
this painting so disturbing. It was the hallmark of was in its heyday. Delvaux visited Italy in 1939 and
Surrealists like Delvaux to depict such strange, often was deeply impressed by Roman architecture. He is ► De Chirico, Cranach, Kahlo, Magritte, Tanguy

Paul Delvaux b Antheit, 1897 d Knokke, 1994. Venus Asleep. 1944. Oil on canvas, h 173 x wl99 cm. h68 x w78 % in. Tate, London
 Demand Thomas Kitchen

The subject of this photograph appears to be the paper reconstruction of the kitchen belonging to of working raises questions relating to our common
corner of a normal, albeit somewhat untidy, kitchen. the house where US troops discovered Saddam acceptance of photography as a conveyor of reality,
There is however something peculiar about this Hussein in hiding in 2003. The artist, who originally the current work also emphasises the banality of
scene. Everything is surprisingly untarnished and trained as a sculptor, based the carefully crafted three- the setting for a historically important and politically
rather sterile. There are no numbers on the dials of dimensional model on an image that was published charged event.
the cooker, or words on the packaging of the bottle widely in the press. After it was photographed,
and carton. This is in fact a life-size cardboard-and- the model was destroyed. Whilst the artist’s process ► Eggleston, Oldenburg, Struth, Wall

Thomas Demand, b Munich, 1964. Kitchen. 2004. Chromogenic colour print, h 133 * wl65 cm. h523/e x w65 in. Private collection
Denis Maurice Portrait of Yvonne Lerolle

Three images of the same slender figure dominate the following statement, which is often considered the a picture’s subject matter is not as important as its
this painting. The folds of her dress, and tree trunks, key to contemporary painting: ‘Remember that a composition. Paradoxically, Denis later attempted
combined with the straight walkways, emphasize the picture — before being a war horse or a nude woman to revive religious painting — which is very dependent
vertical lines of the composition. Denis was a member or some anecdote — is essentially a flat surface covered on subject matter — and in 1939 he published a history
of the Nabis, a group of painters who associated with colours assembled in a certain order.’ This way of religious art.
themselves with Paul Gauguin’s expressive use of of looking at art eventually led to abstraction. The
colour and rhythm. At the age of twenty Denis made painting shown here confirms the artist’s belief that ► Bonnard, Gauguin, Maillol, Mucha, Vallotton, Vuillard

Maurice Denis b Granville, 1870. d Paris, 1943. Portrait of Yvonne Lerolle. 1897. Oil on canvas, h 166 x w78 cm. h653/8 x w303A in. Musee Departemental du Prieure, Saint-Germain-en-lay<
Derain Andre The Pool of London

Bright colours dance and shimmer on a dock on the shows the artist’s understanding of the techniques of exhibited. They were given the nickname ‘Fauves’,
River Thames. The unmistakable silhouette of Tower Impressionism. Derain has made colour the picture’s or wild beasts, as an expression of their ‘wild’ use
Bridge is in the distance. Derain has transformed the subject; the setting has become nearly irrelevant. of colour and unusual subject matter.
scene into a rainbow of primary colours, which have Along with a group of like-minded artists, Derain’s
been applied in bold blocks. His use of colour distorts inspiration came from a desire to work only with
the perspective and gives the painting’s surface a strong colours. This, plus the primitive power of the
pulsating, vibrating unity. The spontaneous brushwork artists’ style, caused a public outcry when they first ► Van Dongen, Van Gogh, Matisse, Signac, Vlaminck

Andre Derain, b Chatou, 1880. d Garches, 1954. The Pool of London. 1906. Oil on canvas. h66* w99cm. h26 x w39 in. Tate, London
 Diebenkorn Richard Ocean Park No. 67

Geometric lines define different sections of colour, a representation of sea and sky. This may be because a tranquil, mystical quality to the picture, which is
evoking the local tones and light of the sea, sky and up until this and similar paintings of the same subject, often found in Abstract Expressionist work - notably
tawny hills of Ocean Park, California. The artist Diebenkorn’s work was largely representational. The that of Mark Rothko, with whom Diebenkorn taught
has created an illusion of space by making his canvas painting is close in feeling to the work of the Abstract at the California School of Fine Arts in San Francisco
appear like a window through which to view the Expressionists, who were popular in the 1950s and from 1947 to 1950.
space contained within it. The painting hovers between whose use of expression, paint and colour would have
a purely abstract composition of lines and colour, and had a great influence on Diebenkorn. There is also ► Albers, Louis, Marin, Noland, Pollock, Rothko

150

Richard Diebenkorn b Portland, OR, 1922. d Berkeley, CA, 1993. Ocean Park No. 67. 1973. Oil on canvas. h254 x w205.5 cm. hlOO x W81 in. Private collection
Dine jim My Name is Jim Dine 2

A deep red heart pulsates on a background of irides¬ he would attach to painted canvases. He often of familiar and banal images. His ‘Heart’ series of
cent patchwork colours. This glitzy image glows emphasized these objects with painted shadows, or paintings, executed from the early 1980s, are said to
with a strange appeal. It brighdy captures the viewer’s would write the name of the object beside it to draw represent the artist’s personal expression and his belief
attention, despite looking like a lurid birthday card. attention to its everyday existence. Dine has experi¬ in the ability of paint to convey feeling.
Dine’s roots lie in Abstract Expressionism, evident in mented with a host of different styles and media,
his loose, free brushwork. He sometimes used real but is best known as a prominent figure of American
objects such as lawnmowers and toothbrushes, which Pop art, a movement characterized by its irreverent use ► Hamilton, Klee, Oldenburg, Rauschenberg, Warhol

Jim Dine, b Cincinnati, OH, 1935. My Name is Jim Dine 2. 1992. Oil and enamel on canvas. h91.4 * W127 cm. h36 x w50 in. Pace Gallery, New York, NY
 Dix o»o Portrait of the Journalist Sylvia von Harden

The eccentric, severe-looking journalist Sylvia von is hinted at by the stocking slipping down the protest against the horrors of war, and they often
Harden is portrayed with the essential accoutrements journalist’s leg. Considered to be one of Dix’s finest, depict working people, cripples and whores. Because
of a cafe society woman - a gilt chair, a marble-topped this portrait encapsulates the decadent glamour of of his penetrating social criticism, Dix was suppressed
cafe table, elegant Russian cigarettes and a glass of Germany’s Weimar Republic. Its harsh, almost by the Nazis. He began to paint again after the Second
Spritzer, the most fashionable drink in Berlin at the grotesque portrayal of its subject makes the painting World War.
time. A feeling of tension and suspense is created an excellent example of New Objectivism (Neue
by the use of vibrant colours, while a sexual element Sachlichkeit). Dix’s other renowned paintings form a ► Beckmann, Ensor, Grosz, Schad

Otto Dix. b Gera, 1891. d Singen, 1969. Portrait of the Journalist Sylvia von Harden. 1926. Oil on panel. hl20 x w88 cm. h47'A » w34% in. Musee National d'Art Moderne, Paris
Dobson William Endymion Porter

It is through the intricate lace collar and cuffs, pearl and can be seen to represent all of the elegance of ability to evoke sumptuous fabrics in paint is a
buttons and gold embroidery, all topped by a proud the English Court in the years before the Civil War. hallmark of his style. Said to have been ‘somewhat
gaze, that the importance and flamboyance of this At his prime, Dobson was considered to be the loose and irregular in his way of living’, he was
person are conveyed. In addition, the bust of Apollo most accomplished portrait painter in England. His imprisoned for debt and died soon after his release.
and the rifle and dead hare show that this is a cultured contemporary Aubrey described him as ‘the most
man, known for his gentlemanly pursuits. Endymion excellent painter England hath yet bred’. His style was
Porter was Groom of the Bedchamber to Charles I vigorous, with a strong English character. Dobson’s ► Batoni, Van Dyck, Hilliard, Kneller, Lely, Moroni

William Dobson, b London, 1611. d London, 1646. Endymion Porter. cl642-5. Oil on canvas. hl50 * wl27 cm. h59 * w50 in. Tate, London
 Van Doesburg Theo Arithmetic Composition

A sense of movement and perspective is created in was able to create a three-dimensional effect on a flat, primary colours which were arranged geo¬
this picture by the sequence of black squares starkly two-dimensional surface. The use of a mathematical metrically. Van Doesburg devoted much of his life
painted against a white background. In fact, the artist formula perhaps reveals Van Doesburg’s interest to promoting De Stijl’s ideas through his writing,
has used a simple mathematical calculation — the in architecture. The artist Piet Mondrian strongly lecturing, art and architecture.
sides of each square, and the distance between them, influenced his work. In 1917 the two artists founded
are half the size of the preceding square. Through De Stijl, a magazine representing the work and ideas
the use of this simple square motif Van Doesburg of that same group. De Stijl artists tended to use ► Albers, Lissifzky, Malevich, Moholy-Nagy, Mondrian

154

Theo van Doesburg b Utrecht, 1883 d Davos, 1931. Arithmetic Composition, 1930. Oil on canvas. hlOl * wlOl cm. h40 x w40in. Private collection
 Peter 100 Years Ago

In a canoe sits the ghostly figure of a long-haired, areas, the paint has been left to run down the canvas. Duane Allman: An Anthology, which included a
bearded man. He looks towards us. The sea around Whilst the image of the canoe — a recurring motif in photograph of the band’s bassist sitting in a canoe.
him is impossibly still, the sky a vivid pink. On the Doig’s paintings — has associations with his upbringing The background is derived from a separate photograph
horizon we see an island. Is this the place from where in Canada, the artist recalls that he was first inspired depicting Carrera, a prison island off the coast of
the man has travelled? Was he put adrift? The eerie, to include it in his work after watching the horror Trinidad; a country where the artist lived for a short
spectral feeling of the composition is enhanced by the film Friday the 13th. The source for the figure in this time as a child.
artist’s application of thin washes of paint. In some painting is taken from the cover of the 1972 album ► Bingham, Monet, Ruscha, Waterhouse

Peter Doig. b Edinburgh, 1959. 100 Years Ago. 2000. Oil on canvas. h200 * w296 cm. h787/s * wl 16V4 in. Museum of Contemporary Art, Los Angeles, CA
 Domenichino The Sacrifice of Isaac

Abraham has been instructed by God to sacrifice his Abraham, the most important figure, dominates in his Domenichino remained firmly Classical in his style.
son Isaac as a test of his faith. The naked youth rich blue and red robes. Domenichino trained at the For this he met with hostility in Naples and had to
bravely accepts his fate as his father wields his sword Carracci Academy in Bologna. He became a popular leave the city, his many works unfinished.
in blind obedience. An angel intervenes, indicating that artist who was often commissioned to decorate the
Abraham should offer the ram instead of Isaac. This many palaces, villas and chapels that surrounded Rome.
dramatic scene is played out in the foreground of the Although he worked within the Baroque period, with
picture so as to enhance the sense of immediacy. its characteristic swirls and painterly effects, ► Carracci, Poussin, Reni, Vouet

156

Domenichino (Domenico Zampieri). b Bologna, 1581. d Naples, 1641. The Sacrifice of Isaac. cl620/l. Oil on canvas. hl47x w140cm. h57% x w55in. Museodel Prado, Madrid
Donatello David

This statue of David shows the young hero in a As one of a group of remarkable sculptors, architects influential of all Renaissance artists. His David was the
dreamy, contemplative mood after slaying Goliath, and painters who brought about an artistic revolution first full-sized bronze nude to have been cast since
whose head lies at his feet. The flowing naturalism in Florence, he is considered a founder of the Ancient times.
of David’s pose, his shy demeanour, and the sensual Renaissance style. Donatello was a favourite artist of
surface texture of the bronze combine to bring the famous patron Cosimo il Vecchio de’ Medici.
the statue to life. This ability to instil human emotion He was by far the leading Florentine sculptor before
in Classical statues was Donatello’s greatest gift. Michelangelo, and possibly the most innovative and ► Canova, Castagno, Ghiberti, Michelangelo, Powers

157

Donatello, b Florence, c)386. d Florence, 1466. David. cl433. Bronze. hl59 cm. h62'/z in. Museo Nazionale del Bargello, Florence
Van Dongen Kees Portrait of Dolly

The artist’s daughter is painted in flat, decorative construct Dolly’s face. He was born in Holland but supported by the success he achieved. Some feel his
sections of intense colour. The beauty of the child settled in Paris and took up French nationality in 1929. great artistic talent was abused when he began to paint
is conveyed in an exotic style. Her sensuality is evoked He was a member of various movements, including portraits of fashionable women, which soon became
by her blackened, almond eyes and fiery red lips, the Fauves and the Expressionists. The influence of somewhat superficial.
echoed by the colour of the ribbon under her hat. both can be seen in his vibrant use of pure colour.
Van Dongen was a master colourist, as demonstrated Young, talented and precocious, from his early thirties
for instance in the delicate green tones used to Van Dongen enjoyed an extravagant lifestyle ► Gontcharovajawlensky, Matisse, Rouault, Vlaminck
Dossi Dosso Alfonso I d'Este

Gleaming armour and battalions of troops reinforce of the time. (Despite all his efforts, however, Alfonso a portrait of Alfonso by Titian. Influenced by the
this image of a great military leader. As Duke of was never able to secure Raphael or Michelangelo to Venetians and by Correggio, Dossi later chose to
Ferrara, Alfonso led his troops in many battles fulfil any of his requests.) Dossi was principal Court paint mysterious exotic landscapes suffused with an
against Papal and Venetian aggressors. In addition to painter for the Este family and together with his unearthly, glowing light.
controlling his army, Alfonso was also an enlightened brother Battista provided mainly mythologies, portraits
patron of the arts who attempted to rival the Pope and decorative frescos. The style of this portrait is
in his ambitious commissions from the greatest artists reminiscent of Venetian art; it is in fact a derivation of ► Altdorfer, Correggio, Michelangelo, Raphael, Titian

159

hl47 x wl 13.5 cm. h58 x w4434 in. Galleria e Museo Estense, Modena
Dosso Dossi (Giovanni Luteri). b Ferrara, cl490. d Ferrara, 1542. Alfonso I d'Este. After 1528. Oil on canvas.
 Dou Gerrit Maidservant at a Window

Elaborately composed, this small, intimate scene Rembrandt, and it is possible to see the master’s Jan van Eyck, and was to be a starting point for Jan
shows a young woman servant pouring water from influence in some of Dou’s earlier pictures. He Vermeer and Pieter de Hooch. Dou was a prosperous
a brass jug over a balustrade which also serves delighted in depicting everyday or ‘genre’ scenes, which and respected artist for much of his life. His workshop
as a window framing the picture. The artist has paid he filled with a wealth of closely observed detail — he was filled with students, who continued producing
meticulous attention to details such as the fraying would sometimes even use a magnifying glass to work. works in his style until well into the eighteenth century.
cloth, the terracotta pot and the birdcage, giving the This interior, with its theatrical setting, recalls a type
painting a gem-like quality. Dou was a pupil of used in the Netherlands in the fifteenth century by ► Van Eyck, De Hooch, Metsu, Rembrandt, Vermeer

160

Gerrit Dou, b Leiden, 1613. d Leiden, 1675. Maidservant at a Window. c!640. Oil on panel. h37 x w28 cm. hi 414 x wl 1 in. Museum Boymans-van Beuningen, Rotterdam
 Dove Arthur Me and the Moon

A bright circle of colour, representing the moon, often suggests nature in a metaphysical, rather state he visited Europe in 1907-9 where he saw the
dominates this composition. A series of lines than a literal sense; the forms of natural objects are work of the Fauvists. On his return to the USA he was
and tones surround it like the rings around the moon, transformed into abstract representations. He wrote: to paint some of the first abstract paintings in modern
or the layers of the imagination. Dark, brooding ‘I should like to take the wind and water and sand art, certain aspects of which are similar to the work
colours create an air of melancholy nostalgia blowing as a motif and work with them, but it has to be of Wassily Kandinsky.
across this landscape of the soul. The canvas richly simplified in most cases to color and force lines just
evokes feelings for the beauty of nature. Dove’s work as music has done with sound.’ Born in New York ► Heckel, Heron, Kandinsky, O'Keeffe, Vlaminck

Arthur Dove, b Canandaigua, NY, 1880. d Centerport, NY, 1946. Me and the Moon. 1937. Wax emulsion on canvas. h46 x w66cm. hi 8 * w26in. Phillips Collection, Washington, DC
Drouais Francois-Hubert Madame de Pompadour at her Tambour Frame

Painted during the last year of her life, King Louis Madame de Pompadour was anything but simple, still exercised considerable influence on Louis XV and,
XV’s mistress is shown as a cultured, matronly figure, however, and she controlled every aspect of her through him, on French politics. Acting as unofficial
her small dog testifying to her loyalty to the king. representations, commissioning portraits throughout gatekeeper to the king, she often interviewed those
The books, prints and lute beside her indicate her her life that reflected the way she wished to be seen. who had business with him while working at her
sophisticated refinement, while her embroidery frame At the time Drouais was painting this likeness, she embroidery, a meaning that would not have been lost
and the box of threads suggest she is a simple, had been the king’s mistress for almost twenty years, on contemporary viewers.
uncomplicated woman, happiest at her sewing. and while the relationship was no longer sexual, she ► Batoni, Ramsay, Reynolds, Rigaud, Romney, Stuart

Francois-Hubert Drouais b Paris, 1727 d Paris, 1775. Madame de Pompadour at her Tambour Frame. 1763-4. Oil on canvas. h217 x W156.8 cm. h85Vi x w613/i in. National Gallery, London
 Dubuffet Jean Jazz Band (Dirty Style Blues)

The members of a jazz band line up across the picture to the Art Informel movement, Dubuffet believed even physically attacked in an exhibition in Paris in
in a static frieze. Apparently random colours have been there was more truth in the unspoiled, creative art of 1946. Despite this adverse reaction, he has become a
applied in an unusual manner with a brush, and the the insane and amateur than the professional artist. widely respected artist.
surface of the painting has then been smeared, rubbed Indeed he coined the term Art Brut (‘raw art”), to
and incised to create the outlines of the players. The describe the kind of art created by psychotics, children
graffiti-like effect is amusing and enchanting, giving and untrained people. Dubuffet’s pieces were often
the picture a naive, childlike simplicity. Loosely allied mocked by both the public and art critics, and were ► Appel, Basquiat, Fautrier, Tapies, Twombly

Jean Dubuffet, b Le Havre, 1901. d Peris, 1985. Jazz Band (Dirty Style Blues). 1944. Oil on canvas. h97 * wl30cm. h38Vi * w51'/8in. Private collection
Duccio The Rucellai Madonna

The traditional subject for altarpieces was an image Here, the line is expressed by the elongated forms that this painting was commissioned by a Florentine
of the Virgin and Child enthroned, surrounded by and the gold edge of the Virgin’s drapery. The angels’ confraternity when Florence and Siena were traditional
angels looking upon them with devotion. Duccio has gowns, in particular, exhibit the artist’s skilled enemies attests to Duccio’s high reputation outside
used this same image, but has included a degree of application of colour. Duccio was the leading painter his native town.
tenderness that is unusual in paintings of the of Siena during the thirteenth and fourteenth
thirteenth century. Sienese paintings of this time were centuries. He was unequalled in the art of panel
characterized by their attention to line and colour. painting, in which he excelled as a narrator. The fact ► Campin, Cimabue, Giotto, Lorenzetti, Martini

Duccio di Buoninsegna b Siena, 1255. d Siena,cl319. The Rucellai Madonna. 1285.Tempera on panel. h450 * w290cm. hl77'/8 * wlM'/s in. Galleriadegli Uffizi, Florence
Duchamp Marcel Fountain

This work is a replica of a porcelain urinal which was a new and unfamiliar one. It was through this work with his own hands; what mattered was that he had
originally purchased by the artist in 1917 from a that Duchamp first defined the concept of the ‘ready¬ chosen it. Therefore the creation was not important
plumbing supply firm in New York. Duchamp simply made’ or ‘found object’ - an idea which has influenced but the idea and selection was.
signed the object with the pseudonym R Mutt, countless artists since. In defending the original
then entered it for an art exhibition. The bizarre item sculpture in 1917 Duchamp challenged traditional
exemplifies the notion of taking a commonplace preconceptions of what art is. He stated that it was not
object out of its customary setting and placing it in important whether or not ‘Mr Mutt’ had made the work ► Beuys, Broodthaers, Johns, Koons, Oldenburg

165

Marcel Duchamp, b Blainville, 1887. d Neuilly, 1968. Fountain. 1917/64. Porcelain. h33.5cm. hi 4 in. Indiana University Art Museum, Bloomington, IN
 Dufy Raoul The Paddock

The colourful atmosphere of the racecourse has been 1920s Dufy visited racecourses regularly with the expression in the light strokes of outline and vibrant
captured in this paddock scene. Dufy has painted famous dress designer Paul Poiret. It was Poiret who colours. His palette often recalls the French Riviera
elegant ladies with parasols, gendemen in top hats, urged Dufy to study the smart clothes of the and Mediterranean. Dufy also designed textiles
jockeys on horseback and a sailor propping his bicycle fashionable ladies who came to the racecourses and painted one of the largest murals ever, for the
against a tree. In the background, a deep blue sea is to be seen. Although he had earlier been influenced 1938 Paris Exhibition.
littered with cruise-liners and yachts. This is the world by the Impressionists, the Fauvists and the Cubists,
of riches and relaxation. From the beginning of the this painting illustrates Dufy’s personal mode of ► Derain, Van Dongen, Laurencin, Matisse, Vlaminck

Raoul Dufy b Le Havre, 1877. d Forcalquier, 1953. The Paddock. cl926. Oil on canvas. h81 x w!25 cm. h317s x w49'4 in. Private collection
Dumas Marlene Jule - The Woman

This volcanic portrait, shown in extreme close-up — the portrait is confrontational. The woman’s gaze is photographs or Old Master paintings, re-processed
larger than life, like a face on a movie screen — seethes direct, and her finger touches a plump lip suggestively. through a contemporary view and represented in fluid,
with expressive power. Only the mouth and eyes are Marlene Dumas has been described as an ‘intellectual loosely applied paint, mixed with translucent washes.
fully realized; the face that frames them is rendered expressionist’, her style a mixture of strongly gestural Using bold contours, the boundaries are blurred
almost abstract, as the viewer’s gaze is drawn to these painting and the cerebral detachment of Conceptual between painting and drawing.
symbols of female sensuality. In colours as unrealistic art, of unapologetic eroticism and profound feminism.
as those of the early twentieth-century Fauve artists. Her depictions of women are often based on magazine ► Close, Derain, Van Dongen, Jawlensky, Warhol

Marlene Dumas, b Cape Town, 1953. Jule - The Woman. 1985. Oil on canvas. h!25 * w!05 cm. h49>/4 * w4m in. Saatchi Gallery, London
 Durer Albrecht Self-portrait with Gloves

The technique of placing the sitter’s arm on a sill was time and which can be seen as a promotion of the art by combining different aspects of Netherlandish
a well-known method of creating the illusion of artist’s status in society. If a patron can be reproduced and Italian art. He is also well-known for his woodcuts
proximity between the viewer and the artist’s model. in paint, why not an artist? The landscape seen and engravings which spread his fame far and wide
Durer may have learned this visual trick from works through the open window (as on the right here) was in sixteenth-century Europe.
such as Leonardo’s Mona Usa, which he would have a feature often used by northern artists such as Jan
seen while travelling in Italy. Durer painted many van Eyck and Robert Campin. An extraordinary and
self-portraits, a subject that was not common at the prolific artist, Durer revolutionized northern European ► Campin, Van Eyck, Grunewald, Leonardo, Rosa

Albrecht Durer. b Nuremberg, 1471. d Nuremberg, 1528. Self-portrait with Gloves. 1498. Oil on panel. h52 * w41 cm. h20'/2 * wl6'/s in. Museo del Prado, Madrid
Van Dyck Sir Anthony Cha rles I on Horseback

Spotless armour, a steady gaze and a regal demeanour his life. It was in Italy, too, that Van Dyck created a myself, the face is so bige and so fate that it pleases me
- it is apparent that this is a man of great importance. style that began the great tradition of English portrait not at all. It lokes lyke on the windes puffinge - but
As painter to Charles I, the artist was commissioned painting. These works were usually of noblemen with truly I think tis lyke the originale.’
to convey the King’s majesty to all who saw it. After proud postures and slim figures. He was often accused
studying with Peter Paul Rubens in Antwerp, Van Dyck of flattering his sitters, but not all were pleased. The
went to London and then on to Italy. Here he adopted Countess of Sussex reacted to her portrait by saying
a more elegant manner of painting, which he kept all she felt Very ill-favorede’, and ‘quite out of love with ► Clouet, Dobson, Gainsborough, Lely, Rigaud, Rubens, Titian

169

Sir Anthony van Dyck, b Antwerp, 1599. d London, 1641. Charles I on Horseback. cl637-8. Oil on canvas. h367* w292cm. hl44 34 * wll5 in. National Gallery, London
 Eakins Thomas Between Rounds

It is almost impossible not to witness the cheers of As a teacher he caused an uproar by insisting that his feeling of drama, much as Rembrandt had. Eakins’
the crowd, the smell of cigar smoke and the sweat art students should draw from the nude. He had paintings were largely unappreciated during his
of the boxer coming from this painting. The fighter, travelled in Europe, and was influenced by the Spanish lifetime, but he received recognition for his realist
caught in the few moments between rounds, is the Realists Diego Velazquez and Jusepe Ribera. It was approach from the generation that followed.
focus of the work. Eakins was fascinated with the through these artists in particular that he learned to
human form. He often used sporting events such paint with such vibrant realism. He also often
as boxing and rowing to capture the nude in motion. exploited the effects of light and dark to produce a ► Bellows, Rembrandt, Ribera, Velazquez

170

Thomas Eakins. b Philadelphia, PA, 1844. d Philadelphia, PA, 1916. Between Rounds. 1899. Oil on canvas, hi 27 * wl 01.5 cm. h50'/s * w39% in. Philadelphia Museum of Art, Philadelphia, PA
Eggleston Williiam Greenwood, Mississippi

From the ceiling of a red room hangs a light bulb, inspired early in his career by the black-and-white produce prints with an intense saturation of colour.
white cables spread outwards towards the walls. photographs of Robert Frank and Henri Cartier- Often discovering an aesthetic value in the banal
Eggleston considers this photograph to be one of his Bresson, in the mid-1960s Eggleston started to and the commonplace, Eggleston’s images have helped
most difficult and powerful works. The subject could experiment with colour photography. An important to establish colour photography as a recognized fine
hardly be more mundane. Yet there is a painting-like development came with his adoption of dye-transfer art medium.
quality to the composition, reminiscent of a canvas by printing — a technique that had been predominantly
Henri Matisse or Barnett Newman. Although he was used in commercial design. This enabled him to ► Cartier-Bresson, Frank, Gursky, Matisse, Newman

William Eggleston, b Memphis, TN, 1939. Greenwood, Mississippi. 1973. Dye-transfer print. h32 * w48.3 cm. hl2% * wl9 in. Museum of Modern Art, New York, NY
 Eliasson Olafur The Weather Project

In a vast interior, groups of people are drawn towards of powerful monochromatic lights below hundreds nature. Employing architects, artists, technicians and
a large solar disc suspended on the wall high above of mirrors — these were carefully offset to produce art historians, in 1995 Eliasson established a studio in
them. An orange glow radiates throughout the room. a slightly jagged reflected image. An atmospheric mist Berlin to act as a laboratory for spatial research.
This vision of a futuristic industrial landscape is in fact was also pumped into the room. The work was
a large-scale optical illusion installed in the Turbine inspired by the artist’s realization that, in the urban
Hall of London’s Tate Modern. To create the sun-like environment, people’s experience of weather was one
effect, Eliasson positioned a semi-circular arrangement of the few direct encounters that they still have with ► Graham, J Martin, Monet, Turner, Vasarely

Olafur Eliasson b Copenhagen, 1967. The Weather Project. 2003. Mixed media. h35 m. hi 15 ft. Tate, London. Now dismantled.
Elsheimer Ad™ The Stoning of Saint Stephen

St Stephen died without resistance to demonstrate that The flying figure on the left and the standing man this. Many of his paintings were copied by other
his devotion to Christ was more important than his on the right gave the artist an opportunity to paint printmakers and his influence stretched well into the
own life. Martyrs can be killed in many different ways; figures in action. A German painter and printmaker, seventeenth century.
this martyr was stoned to death. Here, a ray of heav¬ Elsheimer travelled to Italy in 1598 where he was
enly light shines down on him, encouraging him in strongly influenced by Venetian artists. He combined
his plight. Elsheimer has paid great attention to detail, their use of colour with his own understanding of
particularly to the musculature of the human body. light and emphasis on realism to create such works as ► Altdorfer, Bosch, Caravaggio, Durer, Michelangelo

Adam Elsheimer. b Frankfurt, 1578. d Rome, 1610. The Stoning of Saint Stephen cl603-4. Oil on copper. h34.7» w28.6cm. hl3% * wll'A in. National Gallery ofScotland, Edinburgh
 Ensor James Skeletons Fighting for the Body of a Hanged Man

Two skeletons fight in futile combat for the body of actions play too large a part. With its strong emotional works were very satirical, with a biting, sometimes
a hanged man suspended above them. Masked figures impact and dramatic imagery, Ensor’s art was much bitter, humour. Born of English parents, Ensor lived
stare at the wretched and pitiful scene. We are invited admired by artists of the German Expressionist in isolation in Ostend, becoming a Belgian national
to gaze with astonishment at this extraordinary and movement. He exerted a particularly powerful influ¬ in 1929.
dismal spectacle. The grotesque nature of this painting ence on Emil Nolde, who visited him in 1911. His
reflects the artist’s own vision: a world ruled by works often included masks, skeletons, and gruesome
absurdity, in which disconnected thoughts and futile and grotesque figures. His paintings and graphic ► Beckmann, Bosch, Kokoschka, Nolde, Pechstein

James Ensor b Ostend, 1860. d Ostend, 1949. Skeletons Fighting for the Body of a Hanged Man. 1891. Oil
on canvas. h59 * w74 cm. h23'/t * w29'/e in. Koninklijk Museum voor Schone Kunsten, Antwerp
Epstein Sir Jacob Elemental

The pent-up energy of primitive man is conveyed position. The strength of the sculpture lies in its his life Epstein worked in two ways, carving in stone
by the tense, compact form of this hunched-up body deliberately unfinished state, with the chisel and file and executing portraits in bronze of a more descriptive
and by the way the head is positioned as though in marks still visible on the unveined alabaster surface. nature. His most renowned bronze is a bust of
surrender to the unknown powers above. The sculp¬ Epstein developed his own unique style, which Sir Winston Churchill.
ture embodies a poignant juxtaposition: of terror illustrates direct inspiration from the Ancient and
or death, suggested by the frozen grip of the hands, primitive sculpture which he would have seen during
and unborn life, suggested by the figure’s foetal visits to the Louvre museum in Paris. Throughout ► Brancusi, Gaudier-Brzeska, Moore, Rodin

Sir Jacob Epstein, b New York, NY, 1880. d London, 1959. Elemental. 1932. Alabaster. h81 cm. h31% in. Private collection
 Ernst Max Forest and Dove

The all-enveloping and stifling nature of this forest, collages and introduced a technique called frottage. element of this technique, together with the hallucin¬
in which the only sign of life is a solitary bird trapped Similar to brass-rubbing, this involved laying a sheet atory quality of the image it has created, make the
in a cage, evokes a feeling of simultaneous enchant¬ of paper on a rough surface and drawing on the picture a fine example of Surrealist preoccupations.
ment and fear. The tangled trees seem petrified and paper so as to reveal the relief of the object beneath.
loom over the bird in wild and irrepressible growth. Because the artist had no control over the picture
Like many artists of his time, Ernst worked in many he was creating, frottage was also seen as a method
media. He produced an enormous collection of of gaining access to the subconscious. The ‘chance’ ► Dali, Gorky, Lam, Miro, H Rousseau, Tanguy

Max Ernst b Bruhl, 1891. d Paris, 1976. Forest and Dove. 1927. Oil on canvas. hlOO x w81.5cm. h39'/2 * w32 in. Tate, London
Estes Richard Gordon's Gin

Is it real — or is it art? This street scene, complete with Expressionism, a movement that had dominated the Estes chose to portray was a world familiar to millions
advertising billboards, is a celebration of American American art scene since the 1950s. The New Realism of Americans. In this way the everyday was trans¬
popular culture. Its startling realism is a surprise and and Photorealism movements, born in the late 1960s, formed into fine art.
delight. Estes did not invent the subject matter - he said something very different. Gone was emotion,
simply chose it, photographed it, and then reproduced colour, poetry — and in came reality. By using photo¬
it exactly as it appeared in the photograph. Estes’ graphs, Estes and other artists perfected their work to
hyper-real art was in many ways a reaction to Abstract the point where reality and illusion became one. What ► Hamilton, Lichtenstein, Richter, Ruscha, Sherman, Warhol

Richard Estes, b Kewanee, IL, 1936. Gordon's Gin. 1968. Oil on board. h62.2 * W81.3 cm. h24Vi * w32 in. Private collection
 Etty William Hero and Leander

Each night Leander would swim across a stretch glowing, sensual skin are set off against a sombre Etty frequently used Classical mythology and
of sea to meet his lover Hero, a priestess of Aphrodite. sea and storm clouds. The black hair and drapery allegory as a means of expression. His works were
She would guide him by holding up a lighted torch. of Hero seem to merge into the dark shadows. Etty’s particularly admired by Eugene Delacroix and other
One night, during a storm, Leander drowned. The imagination was fired by an obsession with the nude, Romantic painters.
grief-stricken Hero threw herself from a tower. Here, which he studied and painted throughout his career.
the two dead lovers are shown in their tragic, final His paintings often evoke the sensuous poses
embrace, as their lives drift away. The tones of their and rich colouring of Titian and Peter Paul Rubens. ► W Blake, Delacroix, Gericault, Rubens, Titian

William Etty, b York, 1787. d York, 1849. Hero and Leander, 1828-9. Oil on canvas. h77 * w95cm. h30'/2 x W37V4 in. Private collection
Evans Walker Kitchen Corner, Tenant Farmhouse, Hale County, Alabama

This study of a poor sharecropper’s cabin exhibits The resulting images and essay were eventually each possession value and strength. Evans insisted that
the careful lighting and superb framing of Evans’s published as a book. Let Us Now Praise Famous Men, his purpose as a photographer was to reveal, not to
documentary oeuvre. The photograph was taken which influenced generations of Depression-era and comment, and he refused to politicize or patronize his
during the summer of 1936, when Evans (then later photographers and artists, from William Eggleston subjects. He took them on their own terms, without
employed by Farm Security Administration) and the and Stephen Shore to Andy Warhol. The picture recalls vanity or self-pity, and gave them a dignity and grace.
journalist James Agee spent several weeks with Agee’s observation that household objects ‘are set very
three sharecropper families in the American south. plainly and squarely discrete from one another’, giving ► Atget, Eggleston, Frank, Shore, Struth
 Van Eyck jan The Arnolfini Portrait

An Italian merchant living in Bruges, Giovanni to commemorate this happy union and, like a witness numerous glazes of pigment mixed with linseed oil.
Arnolfini, holds the hand of Jeanne de Chenany, his in a wedding ceremony, he has written the words It was then coated with varnish. Using this technique,
young bride. The small dog, the slippers on the floor, Johannes de eyck juit hie (‘Jan van Eyck was present’) on Jan van Eyck and his brother Hubert are traditionally
the fruit on the window sill, the single candle, the the far wall. In the mirror beneath, the backs of the credited with having ‘invented’ oil painting. The Van
rosary hanging on a nail, the floor boards and carpet betrothed couple are visible and a third figure, who is Eycks’ style was often imitated, but never surpassed.
have all been painted with jewel-like precision. possibly the painter, witnesses the event. The painting’s
Van Eyck was probably asked to paint this picture smooth, enamel-like surface was achieved by applying ► Campin, Limbourg, Memling, Van der Weyden, Wood

Jan van Eyck. Active in The Hague, 1422. d Bruges, 1441. The Arnolfini Portrait. 1434. Oil on panel. h81.8 x w59.7cm. h32'4 x w23'/2 in. National Gallery, London
Fabritius Carel The Goldfinch

Set against a creamy background, a litde goldfinch rests instead painted dark objects on a light background. a gunpowder store in Delft while working on a
on a green perch. The goldfinch seems so real, it is Fabritius paid special attention to visual accuracy. portrait. The painting shown here is one of a small
tempting to reach out and touch it. The simplicity and This particular feature of his work may have influ¬ number of his works that have survived.
intimacy of this small painting almost cloud the skill enced the artist Jan Vermeer, who was his student.
with which it is painted. Fabritius was the most brilliant The careful composition of this work and its startling
of Rembrandt’s pupils. However, he reversed his simplicity also give a foretaste of Vermeer’s work.
master’s technique of painting light against dark, and Tragically, Fabritius died during the explosion of ► Audubon, Claesz, De Heem, Kalf, Rembrandt, Vermeer

Corel Fabritius. b Middenbesms.er, 1622. d Delft, 1654. The Goldfinch. 1654. Oil on panel. h34 * w23 cm. hl3Vi * w9'/. in. Mauritshuis, The Hague
 Fantin-Latour Henri White and Pink Roses

The roses in this picture seem to glow against the dark traditional painter, accepted by the Parisian Salon. grouped around a portrait of Eugene Delacroix.
background. These are cut flowers that because of His romantic vision, however, caused him to move Fantin-Latour also did a series of lithographs
their short lives are often seen as symbols of mortality. away from the academic approach. By 1863 he illustrating the music of Wagner and other
Each petal has been formed by a thick stroke of paint. was exhibiting along with his Impressionist friends, Romantic composers.
The variation of colour has been created by the including Edouard Manet. Besides his still lifes,
artist applying pink and white colours to the brush Fantin-Latour is well known for his groups of figures.
without blending. Fantin-Latour began his career as a One such picture shows Manet and his artist friends ► Bazille, Courbet, Delacroix, Manet, Ruysch, Whistler

Henri Fantin-Latour, b Grenoble, 1836. d Bur6,1904. White and Pink Roses. 1890. Oil on canvas. h37 x w32cm. h 14V4 * wl2'/2 in. Private collection
Fautrier Jean Sarah

The irregular-shaped, thickly textured central section creative period, during which his images were largely Fautrier spent his childhood in London and enrolled
of this picture shows a distorted female form. The of the horrors of war. Perhaps he developed this at the Royal Academy School at the age of fourteen.
painting was made from paper glued to the canvas, time-consuming and problematic technique in order He was very active throughout his career and his varied
over which the artist applied a thick paste with to express more forcefully his feelings about the state work includes drawings, etchings and sculptures.
a spatula. He then coated these areas with coloured of the world. The free brushwork and the heavily
powder bonded to the surface with varnish. Fautrier textured surface illustrate the artist’s connection with
began to work in this unique way during his most the Art Informel school of painting. Born in France, ► Burri, Dubuffet, Ingres, Modigliani, Poliakoff, Tapies

mounted on canvas, hi 16 * w89 cm. h455/s * w35 in. Private collection

Jean Fautrier. b Paris, 1898. d Chatenay-Malabry, 1964. Sarah. 1943. Oil on paper
 Feininger Lyonel Sailing Boats

Overlapping triangles of colour echo the sails of the The two artists shared an interest in the emotional He was interested in many aspects of modern life,
boats creating a rhythmic pattern and sense of speed effects of colour, as well as in urban architecture but favoured architectural and marine views for their
and space. Although born in New York, Feininger’s as a subject for painting. In 1913 Feininger exhibited geometrical quality.
development as an artist took place mainly in Europe. with the Blaue Reiter group, which included Wassily
While in Paris he exhibited several paintings and Kandinsky among others. A few years later he joined
became aware of Cubism. He met the artist Robert the Bauhaus school, which was closed by the Nazis
Delaunay, who became a major influence on his work. in 193;. At this point Feininger returned to the USA. ► Balia, Delaunay, Gris, Hodler, Kandinsky, Picasso

Lyonel Feininger b New York, NY, 1871. d New York, NY, 1956. Sailing Boats. 1929. Oil on canvas. h43 x w72cm. hl7 x w28'/4 in. Detroit Institute of Arts, Detroit, Ml
Flavin d™ Untitled (To the Citizens of the Republic of France...)

Red, white and blue: the colours of the French of their Revolution), 3. By using objects with the same space in which it is shown and posing the question,
Republic glare at us from industrially manufactured shape, the sculpture takes on the appearance of a where does the art begin and where does it end? This
fluorescent tubes which have been assembled into fragment of a monument, or a ‘pseudo-monument’, use of light, space and identical, geometric objects,
a three-dimensional, pillar-like construction. The work as Flavin called his works. The use of coloured connects Flavin’s work with the Minimalist movement.
was executed to celebrate the bicentenary of the light instead of paint adds another dimension. There
French Revolution. Its full name is Untitled (To the is neither a frame nor any hard edges to mark its limits.
Citizens of the Republic of France on the 200th Anniversary The light radiates beyond the work, redefining the ► Buren, Judd, Kelly, LeWitt, Merz, Nauman, Viola

Dan Flavin b New York NY 1933. d Riverhead, Long Island, NY, 1996. Untitled (To the Citizens of the Republic of France...). 1989. Blue, red and white fluorescent light. Height dependent on location. LeoCastelli Gallery, New York, NY
 Fontana Lucio Spatial Concept

After painting the canvas in monochrome blue the fact that the artist has rejected the traditional picture movement and time were as important as colour,
artist has slashed it vertically seven times with a sharp format. It represents a symbolic and physical escape perspective and form. Born in Argentina of Italian
knife. A dramatic image — but what does it mean? from the usual flat surface stretched tightly over parents, his family returned to their native country
Fontana was primarily concerned with the concept a wooden frame. In allowing us to look through the in 1905 where Fontana lived for the rest of his life.
of space. By slashing the canvas he relieved it of canvas the artist creates another dimension and
its tautness, and allowed the viewer to see the space conveys a sense of infinity. Fontana was a member
behind. The painting’s primary significance lies in the of the Spatialism movement which stressed that space, ► Kelly. Klein, LeWitt, Lissitzky, Malevich

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Lucio Fontana b Santa Fe, 1899. d Comabbio, 1968. Spatial Concept. 1962. Waterpainton canvas. h52 * w52 cm. h20'/2 * w20’/2 in. Private collection
 Tsugouharu Young Girl in the Park

This nostalgic and enchanting scene of a young girl painting demonstrates how he used simple lines to Chaim Soutine and Amedeo Modigliani. His work
holding a cat was created when the artist was seventy- convey a sense of childlike innocence and purity. includes landscapes, nudes and book Elustrations.
one-years-old. The outline is painted with a fine The Japanese tradition of art is mainly graphic, and In 1959 he converted to CathoEcism and changed his
Japanese brush dripped in black paint. The image was Foujita continued this tradition by exploiting the use name to Leonard in homage to Leonardo da Vinci.
then delicately filled in using only a smaE amount of of line, while absorbing Western artistic influences.
colour. This is especiaUy noticeable in the girl’s pale Born in Tokyo, the artist setded in Paris in 1913, where
flesh tones. Foujita was a master of drawing, and this he joined a circle of artists including Marc Chagall, ► Chagall, Hokusai, Laurencin, Modigliani, Soutine

Tsugouharu (Leonard) Foujita. b Tokyo, 1886. d Zurich, 1968. Young Girl in the Park. 1957. Oil on canvas. h50.8 * w65.4cm. h20x w25% in. Private collection
 Fouquet Jean Virgin and Child

Apparently a religious image of the enthroned Queen the year Agnes died it is possible that it was as seen in the jewelled crown and the different textures
of Heaven and her Child, this painting also appears to commissioned as a memorial to her. Well known of the cloth, fur and transparent veil — demonstrate
represent a more earthly subject. It is rumoured that as a draughtsman and for his illuminated manuscripts, his debt to northern artists such as Jan van Eyck.
the Virgin is actually a portrait of Agnes Sorel, the Fouquet, one of the leading French painters of
mistress of Charles VII of France. This woman was the fifteenth century, travelled to Italy where he would
also adored by a man named Chevalier who was have seen works by Piero della Francesca and other
Fouquet’s first patron. As this painting was executed Renaissance artists. His acute attention to detail - ► Botero, Bouts, Campin, Van Eyck, Piero della Francesca

Jean Fouquet b Tours, 1425. d Tours, before 1481. Virgin and Child. 1450. Tempera on panel. h95.3 « w86.4cm. h37'/2 * w34 in. Koninklijk Museum voorSchone Kunsten, Antwerp
Fragonard Jean-Honore The Swing

With an air of flirtatious abandon, a beautiful young sweeping upward movement all bring the viewer’s — who were equally important painters. But it was
girl kicks off her dainty shoe as she swings in a eyes - and her lover’s — to her. This type of painting, Fragonard who so perfecdy embodied the Rococo
luxuriant garden. We can almost hear the provocative with its frivolity and lightness of touch, characterizes spirit — all powder, perfume and artifice, with a highly
rustle of petticoats as her lover gazes at her from the Rococo period. Fragonard is known for taking polished finish.
his vantage-point in the undergrowth. Bathed in a this style to its greatest heights. There were other
shaft of glorious sunlight, the girl is the focus of the artists at that time - Fragonard’s own master, Francois
composition. Her porcelain perfection, pink dress and Boucher, and the Venetian, Giovanni Battista Tiepolo ► Amigoni, Boucher, Greuze, Loncret, Tiepolo, Watteau

Jean-Honore Fragonard, b Grasse, 1732. d Paris, 1806. The Swing. 1767. Oil on canvas. h81 x W64.5 cm. h31% x w253/s in. Wallace Collection, London
 Francis sam Around the Blues

Blue splotches of paint have been dripped, flicked and can be seen, it captures a particular feeling, movement colour. Some of his most famous works are from
splattered onto the canvas with controlled abandon. and atmosphere. It vibrates with an intensity of colour the ‘Blue Ball’ series which he created in the 1950s
Large areas of bare white canvas have been left in which the edges of shapes are blurred with emotion. and 1960s.
untouched. Originally painted in 1957, the canvas was This was the aim of the Abstract Expressionists: to
reworked by the artist in 1962. The painting is an allow movement without restraint, colour without
important and monumental example of Abstract outline, emotion without reality. Francis was a major
Expressionism. While no reference to the real world figure in this group. He was also a master of water¬ ► De Kooning, Pollock, Rothko, Still, Tobey

Sam Francis, b San Mateo, CA, 1923. d Santa Monica, CA, 1994. Around the Blues. 1957/62. Oil and magna on canvas. h274 * W487.5 cm. hl08 x wl 92 in. Tate, London
Frank Robert Parade - Hoboken, New Jersey

Against the backdrop of a brick-built apartment block of those living inside the apartment and the public three photographs chosen from many thousands
flutters an American flag. Behind the windows on displays of national identity symbolized by the flag taken by him whilst travelling across the country in the
either side stand two women. Whilst this creates and the passing parade. Celebrated for his ability mid-1950s. The first US edition of The Americans
a degree of symmetry and structure, the composition to capture the contradictions and tensions that existed included an introduction written by the Beat poet and
feels unbalanced — the top of the flag is cropped, in America in the post-war period, Frank selected novelist, Jack Kerouac.
and the faces of the women are obscured. The image this photograph as the opening image for his
suggests a contrast between the everyday realities influential book The Americans, a collection of eighty- ► Cartier-Bresson, Evans, Hopper, Johns, Ruscha

Robert Frank, b 1924, Zurich. Parade - Hoboken, New Jersey. 1955. Gelatin silver print. h21.3 * w32.4 cm. h8'/i x wl234 in. Private collection
 Frankenthaler Helen Mountains and Sea

Large splotches of blue, green and red decorate this of the canvas. Mountains and Sea is her first major random quality of her staining are all elements that
impressive yet delicate and lyrical composition. The stained painting. Its rich colours, fluid forms and ability amount to an Abstract Expressionist painting. Her
artist has used an unprimed canvas so that the colours physically to merge the foreground and background pictures are invariably large and evoke a unique sense
seep into it like ink into blotting paper as soon as into the canvas had a substantial influence on Kenneth of openness and delicacy.
they are applied to the surface. Although Frankenthaler Noland and Morris Louis, who subsequendy adopted
has decided where to place the colours, the staining this innovative technique. The abstracted quality of her
is beyond her control as it depends on the absorbency landscape, the spontaneity of her colours and the ► Gorky, Hodler, Louis, Noland, Pollock, Rothko

192

Helen Frankenthaler b New York, NY, 1928. d Darien, CT, 2011. Mountains and Sea. 1952. Oil on canvas. h220 * W297.8 cm. h86% x w117!4 in. On loan to the National Gallery of Art, Washington, DC
 Freud Lucian Benefits Supervisor Sleeping

A woman lies on a rather shabby sofa, her heavy, painters working in Britain. With an increasing focus even when he was painting other areas of the
sagging physique appearing to pull her downwards. on the naked human form, Freud was committed composition, such as the floorboards. The artist was
The artist has scrutinized every inch of her body, to painting directly from life and refused to work from the grandson of the pioneering Austrian psychoanalyst
rendering each mark and blemish; the bold impasto photographs. The model for the present painting. Sigmund Freud.
of the paint mimics the textures and tones of her Sue Tilly, recalled that she sat for the painting two
pale, fleshy skin. During his long career Freud became to three days each week over a period of nine months
established as one of the most respected figurative - with the artist insisting that she lay in position ► Auerboch, Bacon, Boucher, Kossoff

Lucian Freud, b Berlin, 1922. d London, 2011. Benefits Supervisor Sleeping. 1995. Oil on canvas, hi 51.3 x w219cm. h595/s * w86'A in. Private collection
 Friedrich Caspar David The Wreck of the Hope

The hard, jagged edges of a ruptured ice floe the ice — thus demonstrating the dominance of nature and eerie luminosity. He was particularly interested in
dominate this composition. They have been painted over man. Friedrich was a major figure in the Romantic painting the effects of light and the seasons. His realistic
so precisely and crisply that they appear cold to the movement, which sought to depict emotions such as yet symbolic landscapes embody the Romantic spirit,
touch. The luminous light which bathes the scene loneliness and desolation. His paintings always drew yet remain totally unique.
causes the painting itself to glow. The wrecked ship, out the spiritual nature of landscape, and often
part of William Parry’s expedition to the Arctic in depicted nature at its most melancholy: lonely stretches
1819-20, seen on the right, is tiny in comparison to of sea and mountains, or snowscapes bathed in strange ► Bierstadt, Church, Cozens, Nash, Turner

Caspar David Friedrich, b Greifswald, 1774. d Dresden, 1840. The Wreck of the Hope. 1824. Oil on canvas. h96.7 x wl26.9cm. h38Vi x w50'/2cm. Kunsthalle, Hamburg
 Dame Elisabeth Goggle Head

Fascinating and frightening, this menacing head, its like those inflicted by an animal, cover its surface. last major commission was an impressive and dramatic
identity hidden by shiny goggles, suggests deliberate Frink was one of the first British sculptors to create figure of The Risen Christ, a bronze sculpture almost
violence. It evokes images of sophisticated modern- works in a Neo-Expressionist style, portraying her own 4 metres (15 feet) high that is now fixed to the facade
day criminals, dictators’ henchmen, or even Hell’s feelings about the complex nature of humankind, of Liverpool Cathedral.
Angels motorbike riders. Smooth in outline, it is its strengths and its vulnerabilities. She is equally well
executed in the shape of a Classical bust yet possesses known for her sculptures of horses and dogs, which
a fearsome and disturbing quality. Random scratches, illustrate the sensitivity of her response to nature. Her ► Algardi, Baselitz, Epstein, Giacometti, Houdon

Dame Elisabeth Frink, b Thurlow, 1930. d Woolland, 1993. Goggle Head. 1969. Bronze. h62.2 cm. h24'/2 in. Beaux Arts Gallery, London
 Froment Nicolas Virgin and Child

While tending his father-in-law’s sheep, Moses is lead them to the land of milk and honey. Froment the church in which it still stands today. Little is known
astounded by the vision of a burning bush. As a token has chosen to include the image of the Virgin and about this French artist who worked in and around
of respect to this heavenly apparition, he removes Child because a burning but unconsumed bush was Aix-en-Provence. His acute atttention to detail and
his shoes. On the left an angel appears to witness the seen as a symbol of Mary who bore a child but great sensitivity to subde effects of light and colour are
event with him. According to the Bible, God spoke remained a virgin. Commissioned by King Rene of elements which he possibly learned from Jan van Eyck.
to Moses through a burning bush, telling him that he Anjou, this panel forms the central section of a
was to deliver the Israelites from their oppressors and triptych of the Burning Bush, which was painted for ► Van Eyck, Lochner, Schongauer, Van der Weyden, Witz

196

Nicolas Froment. Active in Uzes, 1450-90. Virgin and Child. 14/6. Oil on panel. h410 x W304.2 cm. hl6mx w11934 in. Saint-Sauveur Cathedral, Aix-en-Provence
Gabo Naum Linear Construction in Space No. 2

A nylon string is wound around two intersecting transparency and weighdessness that was unpreced¬ 1922, and spent time in Berlin and Paris before
sheets of curved perspex to create a complex three- ented. The sculpture seems to float as if suspended becoming an American citizen. In 1952, he combined
dimensional pattern of concave and convex folds. from an invisible cord and, having no beginning or his artistic talents with architecture, constructing
It was conceived as part of an unrealized 3-metre end, it conveys a sense of infinity. Gabo was a an enormous monument for a department store
(15-foot) commission for the Esso building in Constructivist and this work is an example of the in Rotterdam.
New York in 1949. With this extraordinarily ethereal movement in the way that it captures the indefinite
sculpture Gabo has achieved an example of delicacy. expansion of space. Gabo left his native Russia in ► Hepworth, Lissitzky, Malevich, Rodchenko, Tobey

197

Naum Gabo, b Briansk, 1890. d Waterbury, CT, 1977. Linear Construction in Space No. 2. 1957-8. Perspex and nylon string on a wooden base. h3Scm. hi 5 in. Private collection
 Gaddi Taddeo Saint Eligius in the Goldsmith's Shop

In the Middle Ages artisans’ shops often looked of St Eligius, would have formed part of the ‘predella’, shows his master’s influence. Gaddi was best known
like the workshop in this painting. The large window a series of panels appearing under the main scene as a narrative painter. He was popular especially for his
opening onto the street would have allowed contact of an altarpiece. The saint was a goldsmith before attention to detail and ability to tell a story.
with customers. It would also have provided space to becoming a priest, so he is shown here as the patron
display wares. Gaddi was chosen among the best living saint of goldsmiths. Gaddi was the godson of the
painters of his time to produce a new high altarpiece painter Giotto, and was his disciple for twenty-four
for Pistoia Cathedral. This small scene, telling the story years. The use of vibrant colours and massive figures ► Giotto, Lorenzetti, Lorenzo Monaco, Orcagna

Taddeo Gaddi, b Florence, cl300. d Florence, 1366. Saint Eligius in the Goldsmith's Shop. c!365. Tempera on panel. h35 * w39cm. hl3% x wl53/s in. Museodel Prado, Madrid
Gainsborough Thomas Mr and Mrs Andrews

Mr and Mrs Andrews are resting after an afternoon the painting. His wife’s beautifully executed blue satin style and colour, and superb handling of paint, make
of shooting. To the right, their estate extends far into dress is unfinished — the outline of a bird is visible him one of the artistic geniuses of eighteenth-century
the distance. The sheaves of corn tell us it is autumn, on her lap. Robert Andrews and Frances Carter were Europe. Although he was a portrait painter by trade
and Mr Andrews’ dog and shotgun imply that he married in November 1748 and it is thought that this his true passion lay in painting the British countryside.
has been hunting. Gainsborough possibly also intended portrait was painted as a celebration of this event.
to include a pheasant shot by this elegant English Unlike many of his contemporaries, Gainsborough
gentleman in the composition, but never completed was not an academic painter. His intuitive sense of ► Constable, Van Dyck, Van Eyck, Ramsay, Reynolds

Thomas Gainsborough, b Sudbury, 1727. d London, 1788. Mr and Mrs Andrews. cl750. Oil on canvas. h69.8 x wl 19.4 cm. h27Vi * w47in. National Gallery, London
 Gaudier-Brzeska Henri Red Stone Dancer

Pulsating with all the power and vitality of an the artist was concerned with primitive forms and most simplified form, Gaudier-Brzeska worked as a
African tribal warrior, this statue ostensibly portrays with abstraction. Born in France, he studied in draughtsman and sculptor and was also closely linked
a dancer. The geometrical rhythms of its surfaces are England and settled in London in 1911. In 1914 he to the Vorticist group. Potentially a great artist, he was
fragmented and distorted to reflect movement. Despite enlisted in the French army, and during this time killed in action in 1915 at the age of twenty-three.
its vigour, the sculpture’s gende coils and the softness he made wood carvings and continued to exhibit in
of its carving evokes the artist’s appreciation of the London. Influenced by the work of Auguste Rodin
human form. This piece was sculpted at a point when and Constantin Brancusi who reduced figures to their ► Archipenko, Brancusi, Epstein, Lipchitz, Moore, Rodin

Henri Gaudier-Brzeska, b Saint-Jean de Braye, 1891 d Neuville-Saint-Vaast, 1915. Red Stone Dancer. cl913. Red Mansfield stone. h43.2 cm. hl7in. Tate, London
Gauguin Paul la Orana Maria (Hail Mary)

A yellow-winged angel alerts two young girls to the is familiar, the figures and location are not typically that is artificial and conventional. Here I enter into
presence of Mary and the infant Jesus; the girls hold those of Western Christian art. Ia Orana Maria Truth, become one with nature’. Gauguin based
their hands together in a gesture of prayer. In the (Hail Mary) was one of the first paintings completed the composition on a bas-relief in the Javanese temple
foreground are freshly gathered bunches of bananas, following Gauguin’s arrival in Tahiti, and his treatment of Borobudur, of which he possessed a photograph.
perhaps placed as an offering, and through the brightly of the subject is illustrative of his romanticized view
coloured landscape of flowering trees we can see of the Polynesian island. In his book Noa Noa, about
the huts of a small village. Whilst the iconography his life there, he wrote, have escaped everything ► Van Gogh, Hiroshige, H Rousseau, Schongauer, Utamaro

Paul Gauguin, b Paris, 1848. d Tahiti, 1903. la Orana Maria (Hail Mary). 1891. Oil on canvas, hi 13.9 x w87.5 cm. h44% x w34'/r in. Metropolitan Museum of Art, New York, NY
 Gentile da Fabriano The Adoration of the Magi

The three Magi are seen paying their respects to the such a subject, and encourage the free use of in secular and natural themes. Gentile reveals this
newly born Christ. Each of the kings and the members expensive blue pigment (lapis lazuli) and gold leaf. in his realistic depiction of animals, birds and plants
of their group are elegandy dressed in gilded brocades. This practice was frequentiy employed to show off in many of his paintings.
In fact, gold pervades this altarpiece, which was the patron’s social position. Gentile came from the
commissioned by the Strozzi family to adorn their north of Italy but he painted in many different places.
chapel in the church of Santa Trinita. Only the His work is typical of the International Gothic style,
wealthiest merchant family in Florence could choose characterized by elegant refinement and an interest ► Gozzoli, Lorenzo Monaco, Mantegna, Overbeck, Pisanello

Gentile da Fabriano, b Fabriano, cl 370. d Rome, 1427. The Adoration of the Magi. 1423. Tempera on panel. h300x w282 cm. h 118 '/s x will in. Galleria degli Uffizi, Florence
 I Artemisia Judith and Holofernes

Judith is shown at the gruesome moment when she of this work are typical of a Baroque painting. unrecognized because she followed in the footsteps
separates Holofernes’ head from his body. Her The saturated colours of the red velvet bedcover of her father, Artemisia is now noted as an important
determined look guides her steady hand, even though and the contrasting white sheets increase the picture’s and a fine artist in her own right.
blood gushes out towards her and all over the bed. brutal goriness; it is difficult to imagine this painting
A strong light shining from the left illuminates being made by a woman living in the seventeenth
the otherwise dark space, heightening the tension century. It was in fact created by the high-spirited
of the moment. The drama, lighting and colouring daughter of Orazio, a well-respected painter. Once ► Caravaggio, Guercino, La Tour, Luini, Reni

203

Artemisia Gentileschi. b Rome, 1593. d Naples, 1652. Judith and Holofernes. c!620. Oil on canvas. hl99* W162.5 cm. h/83/s « w64 in. Galleria degli Uffizi, Florence
 Gericault Theodore Officer of the Hussars

A decorated officer of the Hussars on a rearing the flowing tail and hind leg of the horse. The method of capturing a sense of movement. Painted
mount charges into batde wielding his curved sword. drama is heightened by a turbulent sky lit by fires. with gusto in rich colours, this picture characterizes
The dynamism and expressiveness of this picture The composition is as cleverly balanced as the horse: Gericault’s style, which was to be such a great
are created by the dramatic diagonal line flowing from the main body of the animal, and the rider with his inspiration to later painters such as Eugene Delacroix.
top right to bottom left incorporating the horse’s curving sword, create a large circle which stabilizes the
head with its flying mane, the dashing soldier as he picture. Gericault was interested in horses and racing,
stretches his arm across the horse’s hindquarters, and and because of this developed a brilliantly rapid ► Bocklin, Delacroix, Van Dyck, Etty, Stubbs

204

Theodore Gericault. b Rouen, 1791. d Rouen, 1824. Officer of the Hussars. 1812. Oil on canvas. h349 x w266cm. hl37'/2 x wl04%in. Museedu Louvre, Paris
Jerome Jean-Leon Bashi-Bazouk

The basbi-ba^ouk were irregular members of the Depicted in an off-profile view, this young African age of thirty-two. For the next forty years, in addition
Ottoman army — adventurers who were maintained mercenary proudly displays his finery, from his to mythological canvases and portraits, he would
by the Sultan but received no pay; they lived off loot. pink silk coat and elaborate headwrap to the ivory- paint Orientalist works based on frequent visits to
The word means ‘corrupted head’, or ‘leaderless’, pommelled daggers and decorated rifle. Trained Egypt, Greece and Turkey, making available to an avid
and they were infamous for their lack of discipline in the Academic style of the French Academie des European audience supremely detailed pictures of
and brutality. In this portrait, however, Gerome depicts Beaux-Arts, and already known for his history daily life in the ‘mysterious east’.
his sitter with characteristic interest and sympathy. paintings, Gerome first visited Egypt in 1856, at the ► Alma-Tadema, J-L David, Ingres, Leighton

205

Jean-Leon Gerome. bVesoul, 1824. d Paris, 1904. Bashi-Bazouk. 1868-9. Oil on canvas. h80.6 x w66 cm. h313/4 * w26 in. Metropolitan Museum of Art, New York, NY
 Gertler Mark The Merry-Go-Round

The open-mouthed figures on the roundabout the public. One of Gertler’s best-known paintings, for being the life and soul of parties, he nevertheless
become hardened into what look like brightly coloured it was considered one of the most striking exhibits suffered from serious depression. He committed
mechanical toys. Whirling around, they have a at the 1917 London Group Exhibition. Gerder was suicide in his London studio at the age of forty-eight.
simplistic yet sinister quality. As several are wearing also well-known for his still lifes and nudes, which he
uniforms, the painting is now viewed as a satire on the depicted in a quiet yet individual style. Gerder was
horror of war — it was at this time that the atrocities born of Polish-Jewish parentage and brought up
of the First World War were just beginning to dawn on in a close Yiddish-speaking community. Renowned ► Bomberg, Van Dyck, Gericault, Lewis, Nash

206

Mark Gertler b London, 1891. d London, 1939. The Merry-Go-Round. 1916. Oil on canvas, hi89.2 * wl42.2cm. h74'/i x w56in.Tate, London
Ghiberti Lorenzo David and Goliath

The artist has created a sense of remarkable depth Ghiberti. The doors are made up of ten large panels calling the doors the Gates of Paradise. In the last
in this shallow relief. Ghiberti achieved this effect by in which episodes from the Old Testament are shown. years of his life Ghiberti wrote his autobiography,
using the formal principles of perspective. For example, They are considered by many to express the height which is the earliest by an artist to have survived.
the three-dimensional figures of the foreground are of Florentine art, particularly in their mastery of
set against a landscape that recedes into the distance. composition and perspective. The doors were a great
The scene is one of ten of the second set of large inspiration to other Florentine Renaissance artists.
bronze doors to the Baptistry in Florence sculpted by Many years later Michelangelo praised Ghiberti’s work, ► Castagno, Donatello, Pisano, Della Quercia

207

Lorenzo Ghiberti, b Florence, 1378. d Florence, 1455. David and Goliath. c!426-52. Gilt bronze. h79.5 * w79.5cm. h31'A * w31'/iin. BottisterodiSon Giovanni, Florence
 Ghirlandaio Domenico Portrait of Giovanna Tornabuoni

‘Would that art could portray her character and virtue. in Florentine Renaissance portraiture. The portrait is at one point Michelangelo’s teacher, was especially
No painting in the world would be more beautiful.’ all the more poignant as the sitter died the year it was popular for his use of naturalistic detail and his ability
Despite this comment on the wall behind the sitter, painted, only two years after her marriage. In addition to capture the life and style of his times.
the artist has successfully captured Giovanna’s serenity, to producing portraits such as this, Ghirlandaio was
beauty and elegance. She is seated against a plain an experienced fresco painter; indeed, the sitter’s
background, enabling the viewer to focus on her likeness also appears in a family chapel in Florence,
profile. This was a convention that was regularly used which was the artist’s largest undertaking. Ghirlandaio, ► Botticelli, Filippino Lippi, Michelangelo, Pisanello

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208

Domenico Ghirlandaio, b Florence, 1449. d Florence, 1494. Portrait of Giovanna Tornabuoni. 1488. Tempera on panel. h77 * w49 cm. h30'/« x w19'/> in. Fundacion Coleccion Thyssen-Bornemisza, Madrid
Giacometti Alberto Walking Man

This emaciated, monumental figure with a roughly Giacometti did not start with a large mass of material settled in Paris in 1922. His paintings and drawings
pitted and textured surface is hauntingly powerful. which he chipped and chiselled to find a form hidden reflect the same restless, nervous quality as his
Through its unnatural, elongated shape, the sculpture within. His technique was to start with a metal sculptures. Made up of sharp, energetic strokes of
is intended to signify solitude and the absolute skeleton and add clay to it, which he would then cast. paint they have a stark and haunting beauty.
separation between ourself and our fellow man. It Giacometti’s singular style of expression kept him
also underlines our fragility and the ephemeral nature apart from the post-Second World War styles of paint¬
of human existence. In contrast to other sculptors, ing and sculpture. Born in Switzerland, Giacometti ► Archipenko, Auerbach, Dubuffet, Frink, Rodin, Smith

209

Alberto Giacometti, b Borgonovo, 1901 d Chur, 1966. Walking Man. 1960. Bronze, hi 83 cm. h72 in. Private collection
 Giambologna The Rape of a Sabine

Swirling with immense energy and furious movement, straddled below. The smoothly polished, sinuous his powerful forms to create a new kind of fluidity
this tightly compacted composition, with its twisting form invites us to walk around the statue and to view and elegance in sculpture. His numerous works
outlines, creates a feeling of drama suitable for the it equally from all angles, rather than from a single include a number of fountains for the gardens of the
subject. The illusion of writhing motion is initiated by viewpoint. Giambologna’s use of the exaggerated Medici family.
the Sabine’s outstretched arms, continued through gesture and his ability to convey a fervid sense of
the muscular, heroic figure of the Roman clasping the energy characterize the Mannerist style. Giambologna
hips of his prey and resolved in the dominated man was strongly influenced by Michelangelo, and adapted ► Bourdelle, Cellini, Michelangelo, Rosso Fiorentino

210

Giambologna (Jean de Boulogne), b Douai, 1529. d Florence, 1608. The Rape of a Sabine. 1581/3. Marble. h410cm. hi61 Vi in. Loggia dei Lanzi, Florence
Gilbert and George Thumbing

Two figures in alternating blue, red and white clothing together since 1967. As self-styled ‘living sculptures’, colours and large scale, and in the way it debunks
appear in what seems to be a window. A tall building they portray themselves to the public in a variety traditional art-historical values, it has affinities with
in the distance dominates the background. With mock- of ways and media. Whatever they do or however they the American Pop art movement.
serious expressions, the figures seem to be posing in use themselves, it is usually with humour and deliberate
a deliberately prankish manner. Perhaps they are bad taste. With their narcissistic pretensions they
► Koons, Lichtenstein, Sherman, Warhol
‘thumbing’ their noses at the conventions of traditional make themselves into objects of ridicule. Their work
art. Gilbert and George have lived and worked almost defies categorization, although with its gaudy

Gilbert and George (Gilbert Proesch and George Pasmore). (Gilbert) b Dolomites, 1943; (George) b Devon, 1942. Thumbing. 1991. Photo-piece, hi69 x wl42 cm. h66'/2 x w56 in. Anthony d'Offay Gallery, London
 Gilman Harold An Eating House

This portrayal of working-class people in a humble Gilman probably used some kind of device to transfer this group of artists advocated the honest study of
interior has been painted with sensitivity and intensity. the design from this painting to a smaller version, everyday life.The group often met in Walter Sickert’s
The artist has created a shallow space in which the which bears the same title. With its clear, accurate studio in Camden Town, an area of north London,
bare walls and range of benches and tables appear as portrayal of an ordinary scene and its intensity of hence its name.
flat decorative colour planes of vermilion and emerald colour, it is a fine example of work by an artist of the
greens. The surface of the painting bears a grid mark Camden Town Group. Sometimes called the ‘English
which was imposed when the painting was still wet. Post-Impressionists’ because of their use of colour, ► Modersohn-Becker, Orpen, Sickert, Vuillard

212

Harold Gilman, b Rode, 1878. d London, 1919, An Eating House. 1913/14. Oil on canvas. h57.2 * w74.9an. h22'/2 * w29'/2 in. Sheffield City An Galleries, Sheffield
Giordano Luca The Dream of Solomon

Sleeping on his luxurious bed, the young king Solomon is a reference to the Temple of Jerusalem, built ‘Luca Fa Presto’ because he worked so quickly.
has a vision of God appearing amid a swirl of clouds during Solomon’s reign. The scene is painted with His airy compositions and delicate colours look
and angels. God invests him with the heavenly light great vigour and expression. This, together with forward to such eighteenth-century painters as
of Divine wisdom, for which Solomon is to become its decorative colour, characterizes Giordano’s style Giovanni Battista Tiepolo.
famous. Above him sits Minerva, the goddess of and that of the late Baroque period. One of the
knowledge. The books and the lamb she holds are most important decorative painters of the second half
symbols of learning and patience. The building behind of the seventeenth century, Giordano was nicknamed ► Bernini, Delacroix, Domenichino, Reni, Tiepolo

Luca Giordano, b Naples, 1634. d Naples, 1705. The Dream of Solomon. cl693. Oil on canvas. h245 x w361 cm. h96'/2 x w!42 in. Museo del Prado, Madrid
Giorgione The Tempest

Why is a naked woman feeding her child out in the are no signed and dated works by him and matters Centuries after his death, Giorgione’s pastoral

open as a thunderstorm looms in the distance? Is this are further confused by the fact that after his early landscapes were still much admired, and influenced
painting just an excuse to depict a poetic landscape, death, many of Giorgione’s pictures were completed great landscape painters such as Nicolas Poussin.
or does it have greater significance? No one has in by his pupils, including Titian. Of all the Venetian
fact been able to identify the subject of this picture, painters Giorgione embodies the best of their painterly
although many theories have been put forward. style. His loose, light brushstrokes and handling of
Indeed, much controversy surrounds this artist. There colour and tone are all hallmarks of Venetian painting. ► Allston, Giovanni Bellini, Poussin, Titian

Giorgione b Castelfranco, cl477. d Venice, 1510. The Tempest. cl508. Oil on canvas. h82 * w73 cm. h32'/* * w283/* in. Galleria dell'Accademia, Venice
Giotto The Lamentation

A group of men and women mourn the death of in terms of emotion and space, on a flat surface. appointed surveyor to Florence Cathedral and
their Saviour as angels await his arrival in the heavenly This work, one of the many scenes depicting the life architect to the city. This was a tribute to his great
realm. Emotional gestures, pained expressions of the Virgin, is considered one of the most important fame as a painter rather than a consequence of
and bright colours heighten the intensity of Mary’s works of the development of Western art. With any architectural knowledge.
grief as she bends over Christ’s dead body. Giotto Cimabue, Giotto is often regarded as the founder
caused a revolution in painting. He was one of of modern painting, as he broke away from the static,
the earliest artists to depict the illusions of real life, stereotyped conventions of his day. In 1334 he was ► Cimabue, Duccio, Gaddi, Pisano, Van der Weyden

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Giotto di Bondone. b Vespignano, 1267. d Florence, 1337. The Lamentation, c 1305. Fresco. h200 » wt 85 cm. h78 V* * w72% in. Cappella dei Scrovegni, Padua
Giovanni di Paolo The Creation and the Expulsion from Paradise

This sublime vision of the creation of the world may four natural elements (earth, air, fire and water), the in his decorative style the influence can also be seen of
be based on Dante’s description in The Divine Comedy — known planets (including the sun), and the twelve the International Gothic, a sophisticated style current
it certainly incorporates late medieval and Renaissance signs of the zodiac. To the right, Adam and Eve are in the courts of France, Bohemia and northern Italy.
cosmological ideas. God the Creator, carried by sera¬ being expelled from a richly floriated Garden of Eden
phim and illuminated by heavenly light, presides over a by another angel, while the four rivers of Paradise
global map of the world, a mappa mundi, encircled by issue from beneath their feet. Giovanni di Paolo was
concentric rings. These represent, from the centre, the a master of the fifteenth-century Sienese school, but ► Botticelli, Cranach, Van der Goes, Limbourg

Giovanni di Paolo, b Siena, cl 399. d Siena, 1482. The Creation and the Expulsion from Paradise. cl445. Tempera and gold on panel. h46.4 x w52.1 cm. hl8'A* w20'/2 in. Metropolitan Museum ot Art, New York, NY
Giulio Romano Room of the Giants

The artist has painted an entire room in fresco from melodramatic emotion the fresco epitomizes the once held by Andrea Mantegna. Here he excelled
floor to ceiling. Standing in the middle, the viewer feels Mannerist style. Giulio Romano was both an architect as an architect. He often designed buildings in
surrounded by tumbling rocks and raging thunderbolts. and a painter. He began his career as one of Raphael’s order to shock and surprise the spectator, the most
With their bulging muscles, the Titans of Mount chief pupils, and his assistant. After his master’s death important of these being his own house in Mantua.

Olympus toss massive boulders as if they were as light he completed a number of Raphael’s unfinished
as feathers, while the gods contemplate the chaos frescos in the Vatican. Later Giulio moved to Mantua,
on Earth below. With its illusionistic perspectives and where he became Court painter to the Duke, a position ► Mantegna, Michelangelo, Raphael, Rosso Fiorentino

217

Giulio Romano (Giulio Pippi) b Rome, 1492. d Mantua, 1546. Room of the Giants. cl527. Fresco. Palazzo del Te, Mantua
Van der Goes Hugo The Fall of Man

Part lizard, part human, the serpent in this depiction astounding. (Notice the extraordinary plaits on top Italy, where one of his altarpieces caused a sensation
of the fall of Adam and Eve is quite disturbing. of the serpent’s head.) This scene forms the left-hand in Florence. He is said to have been seized by madness
Standing by the Tree of Knowledge, Eve, modestly panel of a diptych (an altarpiece made of two panels while on a journey to Cologne in 1481; he died, still
covered by a strategically placed iris, stretches her arm hinged together). The clear, luminous colours and insane, the following year.
to reach for a second apple, having already taken a straightforward description of the figures shown here
bite of the first. The care with which each leaf, blade are typical of painting in the Netherlands in the
of grass and lock of hair is individually painted is fifteenth century. The artist’s fame spread as far as ► Bouts, Campin, G David, Van Eyck, Memling, Van Scorel

Hugo van der Goes, b Ghent, 1440. d Brussels, 1482. The Fall of Man. cl470. Oil on panel. h32.3 * w21.9 cm. h 123A * w85/s in. Kunsthistorisches Museum, Vienna
Van Gogh Vincent Self-portrait

The artist stares with intense blue eyes that seem eddying waves of blue-grey pigment that turn greener depictions of peasants by Barbizon artists such
to ask questions he cannot answer. And yet this portrait, in his jacket and waistcoat suggest a tumultuous as Jean-Frangois Millet, to the Impressionists and
painted while Van Gogh was a voluntary patient in mentality, and the contrasting colours of his face, neck Post-Impressionists whose work he saw in Paris.
the asylum at Saint-Remy, near Arles in the south of and beard, immobile among the roiling brushstrokes, He combined them all into a uniquely expressive
France, captures his psychological state of mind more act as a spot-lit frame for those piercing eyes. He would gestural style of painting in which emotional
by means of its colours and dynamic background be dead a year later. Van Gogh’s influences ranged communication took precedence over naturalism.
textures than by any physical verisimilitude. The from Dutch Baroque genre scenes and the realistic ► Auerbach, Derain, Van Dongen, Gauguin, Kokoschka, Signac

219

i. h65*w54.2 cm. h25’/2 * w20'/2 in. Musee d'Orsay, Paris

Vincent van Gogh, b Groot-Zundert, 1853. d Auvers-sur-Oise, 1890. Self-portrait. 1889. Oil on canvas.
 Gontcharova Natalia Street in Moscow

In a tranquil street, a woman dressed in elegant black of the wheels, and the shape of the woman’s hat this interest. In 1915 she settled in Paris where she
walks out of the picture. Behind her a coachman reflected in that of the cart. The forms have been designed a number of stage sets for Sergei Diaghilev’s
calmly waits in his carriage. Apart from the woman’s painted in muted tones, adding to the atmosphere Pallets Russes.
sad steps, there is no movement in this scene, which of sadness. An air of forlorn hope blows through the
is a crystallization of a moment in time. All the forms painting. Gontcharova was profoundly interested
have been reduced to simple, flat shapes — the squares in the popular folk art of Russia, and her own work
and rectangles of the street and buildings, the circles for a time exuded a primitive quality that came from ► Appel, Chagall, Jawlensky, Modersohn-Becker, Wallis

220

Natalia Gontcharova. b Russia, 1881. d Paris, 1962. Street in Moscow. 1909. Oil on canvas. h65 * w79cm. h25Vi * w31 in. Private collection
Gonzalez-Torres Felix Untitled (Perfect Lovers)

These two identical, battery-powered clocks were of the wall behind was, according to Gonzalez-Torres, to create a ‘democratic’ art — one that required
initially set to precisely the same time, but inevitably the colour of a beautiful memory. The piece reflects the interaction of the viewer to activate and complete
they fall out of sync as the hours and days pass, one mortality, human relationships and the passing of it. He was a master of allegory, using commonplace
moving ahead as the other falls behind. This inescap¬ time, and like much of the Cuban-born artist’s work, materials such as newspapers or wrapped sweets to
able loss of connection is the metaphorical message it transforms everyday objects into a meditation suggest personal history and universal human emotion.
of the work, which was created shortly after the artist’s on love and loss. Gonzalez-Torres combined elements
partner was diagnosed with AIDS. The pale blue paint of Conceptual art, Minimalism and political activism ► Boetti, Broodthaers, Marclay, G Orozco

Felix Gonzalez-Torres. b Guaimaro, 1957. d Miami, FL, 1996. Untitled (Perfect Lovers). 1991. Clocks and point on wall. h35.6 * w71.2 * d7cm. hi 4 w28 x d23/d in. Museum of Modern Art, New York, NY
 Gorky Arshile The Waterfall

This apparently abstract painting is based on a small of forest and water. The painting shows the magical, images from his native land in his paintings. After years
waterfall in a wood. It evokes a strong impression dream-like elements typical of the Surrealist move¬ of poverty, he achieved brief recognition but hanged
of a stream pouring through a rock, surrounded by ment, towards which Gorky was moving at the time, himself after suffering severe psychological trauma.
overhanging trees and greenery. Vibrant colours evoke and the spontaneity of Abstract Expressionism. Born
the serenity of bright sunlight and the sound of falling in Armenia, Gorky emigrated to the USA in 1920.
water. The beauty of the work lies in the artist’s ability One critic has referred to him as an artist-in-exile, for
to express an almost spiritual peace through the images whom art became a homeland. Gorky would often use ► Ernst, Frankenthaler, De Kooning, Lam, Rothko

222

Arshile Gorky, b Khorkom Vari, 1904. d Sherman, CT, 1948. The Waterfall. 1943. Oil on canvas. hl54 » wll3 cm. h60'/2 x w44% in. Tate, London
Gormley Antony Sound II

A tall, pensive figure stands in the half-light of the Gormley’s sculptures, this one seems best placed to haunting. The sense of solitary reflection recalls
crypt beneath the eleventh-century cathedral of explore the artist’s interest in the relationship of the Gormley’s statement that his works, moulded from
Winchester. He seems to have paused momentarily human form to space and the spiritual. Like his cast- his own body, attempt to treat the body not as a thing
in thought, gazing quietly down at his hands, or iron figures looking out to sea near Liverpool {/.Another but as somewhere ‘to materialize the place at the other
perhaps at the reflection of ancient brick vaults Place, 1997), the sculpture evokes powerful emotions side of appearance where we all live’.
in the water — for the crypt is often flooded, leaving of which the surroundings are an integral part,
the figure submerged as high as the knees. Of all simultaneously sublime and human, transcendent and ► Archipenko, Donatello, Gaudier-Brzeska, Giacometti, Segal

Antony Gormley. b London, 1950. Sound II. 1986. lead, fibreglass, water. hl88 * w60 * d45 cm. h76 * w235/s* dl73/iin. Winchester Cathedral, Hampshire
 Gossaert Jan Saint Luke Painting the Virgin

St Luke sits at a lectern in a church, drawing the Virgin and in the heavy, sculptural forms of the figures. Renaissance but were hampered by their Flemish
and Child, his hand guided by an angel. Gossaert However, the traditions of northern painting are also realism and painstaking technique. Although he
(sometimes called Mabuse) was one of the first reflected in the lyrical folds of the draperies, which borrowed poses and details, the essence of Classicism
Flemish painters to visit Italy, and the influences of are entirely Flemish, and in the uncomfortable pose escaped him. In 1527 he travelled in Flanders with
this trip can be seen clearly in the Renaissance-inspired of the kneeling saint. Gossaert was one of a group Lucas van Leyden.
architectural setting, in the way the light comes from of Netherlandish artists, nicknamed ‘the Romanists’,
one direction (that of the halo around the Virgin), who wanted to follow the ideals of the Italian High ► Durer, Van Eyck, Lucas van Leyden, Massys

224

Jon Gossaert (sometimes called Mabuse), b Maubeuge, c]478. d Middelburg, 1532. Saint Luke Painting the Virgin. c!520-5. Oil on panel. hl09.2 x w81.9 cm. h43 * w32'/iin. Kunsthistorisches Museum, Vienna
 Francisco Portrait of the Duchess of Alba

Dressed in the fashionable black costume of figure in Madrid society. It is likely that she was politically inspired by the French occupation of his
the elegant majas of Madrid, a veil cascading in folds romantically involved with Goya at the time, suggested country at that time. At the time of his death, Goya
around her head, the Duchess of Alba exudes an air here by the words ‘Solo Goya’ to which she points, had completed some 5 00 oil paintings and nearly
of aristocratic beauty. Her monochrome but opulent and the fact that ‘Goya’ and ‘Alba’ are inscribed on the 300 etchings and lithographs.
clothing is described with marvellous energy. Set rings of her hand. As he grew older Goya spent more
against a cloudless sky, she seems about to step into time creating scenes of fantasy and terror. Although he
the viewer’s presence. The Duchess was a prominent remained a Court painter, many of his paintings were ► Gainsborough, Manet, Ramsay, Reynolds, Velazquez

Francisco Goya y Lucientes. b Fuendetodos, 1746. d Bordeaux, 1828. Portrait of the Duchess of Alba. 1797. Oil on canvas. h210 x wl48 cm. h82V4 * w58'/i in. Hispanic Society of America, New York, NY
 Van Goyen Jan A Castle by a River with Shipping at a Quay

The warm, brown tones give a wonderful rustic air painters and which takes up almost three-quarters had many pupils and imitators. He produced coundess
to the building on the right with its turrets and bay of the painting. Van Goyen was one of the first to works, and was certainly a great influence on landscape
windows. Looking along the river into the distance, capture a sense of light and atmospheric effects. Most painting of the seventeenth and eighteenth centuries.
the colour gradually loses its strength. The low horizon of his paintings were based on drawings that he made
evokes the flat plains of the Dutch landscape. This is while travelling around the countryside, and it appears
emphasized by the vast, dominating, grey sky, a feature that he used these again and again, as the same scene
that was so important to seventeenth-century Dutch appears in a number of his paintings. Van Goyen ► Avercamp, Bonington, Boudin, Hobbema, Ruisdael

226

Jan van Goyen. b Leiden, 1596. d The Hague, 1656. A Castle by a River with Shipping at a Quay. 1642. Oil on canvas, hi 03 x wl40cm. h40'/2 x w55Viin. Private collection
Gozzoli Benozzo The Journey of the Magi

Fur-ttimmed capes, gold bridles, velvet robes and in Florence. It was unusual to have a chapel inside a of the very different Andrea Mantegna, Gozzoli’s rich
splendid horses — this is truly a magnificent procession. private house, but Cosimo’s magnificent palace broke sense of decorative pageantry provides a fine example
The subject of the Magi was often a favourite of with many traditions of the day. Gozzoli has included of the International Gothic style.
affluent patrons because the use of opulent colours portraits of the family in the fresco, and the elegant
and gold leaf would highlight their own wealth and young Magus in the gold robe is said to be Lorenzo
status. This example appears as a fresco on the walls de’ Medici. The fresco is only a part of the chapel’s
of a chapel inside the palace of Cosimo de’ Medici decoration. A pupil of Fra Angelico and contemporary ► Fra Angelico, Gentile da Fabriano, Mantegna, Uccello

Benozzo Gozzoli. b Florence, 1420/2. d Pistoia, 1497. The Journey of the Magi. 1459. Fresco. Palazzo Medici-Riccardi, Florence
 Graham Dan Present Continuous Past(s)

A combination of Performance art and video instal¬ played back on the monitor with an eight-second delay. events that had occurred sixteen seconds ago.
lation, Present Continuous Past(s) produces a disorientating Whilst the viewer can see their live actions reflected A pioneering figure of the Conceptual art movement
reconfiguration of the spatial and the temporal. in the mirrors, they simultaneously see their previous in the 1960s, Graham has since employed a wide range
Attached to the wall of a specially constructed room actions on the monitor. If the reflection of the of media including film, sculpture, performance
is a video camera; positioned directly below it is monitor is not obscured, the camera will also record and sound. He is also a respected writer and critic.
a monitor. The opposite wall and one adjacent wall the action on the monitor that happened eight seconds
are both mirrored. Events recorded by the camera are previously; enabling the viewer simultaneously to see ► Eliosson, Flavin, Kusama, A Piper

228

Dan Graham b Urbana, IL, 1942. Present Continuous Past(s). 1974. Mixed media including mirror, camera and monitor. h320 * w320 cm. h 126 x wl26 in. Musee National d'Art Moderne, Paris
El Greco The Burial of Count Orgaz

Swirling forms and colours have been used here to and clergy look on. Born in Crete, El Greco trained unearthly, colours. In this way, El Greco’s work
create a dynamic, visionary image of Heaven. The in Venice and Rome before moving to Toledo. The can be seen to epitomize the Mannerist movement
subject of the painting, Count Orgaz, was a Toledan fashionable style at that time was the Classical manner at its height.
dignitary who was so pious that the saints Augustine of Michelangelo, Raphael and Titian. El Greco
and Stephen appeared miraculously at his funeral to transformed these powerful influences into his own
lower his body into the tomb. Above, his soul ascends distinctive, intensely spiritual style with its elongated
to the heavenly realm as members of the local nobility forms, sweeping movement and bright, sometimes ► Andrea del Sarto, Michelangelo, Raphael, Titian

229

El Greco (Domenikos Theotocopoulos). b Crete, 1541. d Toledo, 1614. The Burial of Count Orgaz. 1586. Oil on canvas. h487.7 x w360.7 cm. h!92 * w!42 in. San Tome, Toledo
 Jean-Baptiste The Guitarist

Dressed in theatrical clothes, a young man listens often had a moral tale to tell. These pictures became to use painting in an insincere and sentimentalized
intently as he carefully tunes his guitar. His tired, wide- increasingly popular in eighteenth-century France manner. For this reason many of his paintings have
open eyes and bedraggled look hint at the struggles and were widely praised by moral philosophers such been overlooked for their important contribution
of his outwardly jovial life. This is a richly painted as Denis Diderot. When the style of the day shifted to art until recently.
scene, complete with all the details of the seventeenth- towards Neo-Classical artists such as Jacques-Louis
century Flemish genre painters, whose manner Greuze David, however, Greuze went out of fashion.
has tried to emulate. Greuze’s scenes of everyday life Unfortunately, his desire to remain popular led him ► Ter Brugghen, J-L David, Hogarth, Honthorst, Steen

230

Jean-Baptiste Greuze b Tournus, 1725 d Paris, 1805. The Guitarist. cl760. Oil on canvas. h71 * w57 cm. h28 * w22'/2 in. Musee des Beaux-Arts, Nantes
Grimshaw Atkinson Nightfall down the Thames

A full moon dominates this riverscape, casting a green composition of the painting is symmetrical and known, and who supposedly commented, ‘I thought
light over the River Thames and the ships floating smooth. It is unbroken by any movement except I had invented the Nocturne until I saw Grimmy’s
on it. The reflection of light on the water leads the the vertical pattern of the skeleton-like masts across moonlights’, Grimshaw had a great love for the
viewer’s eye to the dome of St Paul’s Cathedral in the skyline. Grimshaw is best known for this kind River Thames.
the distance. In such mysterious moonlight, however, of night townscape, which was often lit by bright
the well-known London landmark looks strangely moonlight. Like his contemporary James Abbott
different to the way it would look in daylight. The McNeill Whistler, whose nocturnal scenes are well ► Friedrich, Spilliaert, Turner, Whistler

Atkinson Grimshaw. b Leeds, 1836. d Leeds, 1893. Nightfall down the Thames. 1880. Oil on board. h40.2 * W63.1 cm. hl5% * w247/s in. Leeds City Art Gallery, Leeds
 GriS Juan Glasses, Newspaper and a Bottle of Wine

The artist has used sliced sections of newspaper of space by positioning these planes in front of or of the movement’s style. Spanish by birth, Gris lived
to create this unusual interpretation of a still life. behind each other. The importance of this work lies most of his working life in Paris and his work
The objects — glasses, newspaper and bottle of wine — in its innovative method of portraying different remained essentially Cubist in form until his death.
have been taken whole and then fragmented, painted sections of an object simultaneously, while rejecting
and glued back together again within the confines the conventions of light and shade. The artist has thus
of parallel vertical planes in the Cubist technique. Gris created a new kind of reality. Although Gris was never
has created a sense of perspective and different levels a Cubist by intention, this work is seen as an example ► Archipenko, Braque, Kupka, Leger, Picasso, Schwitters

232

Juan Gris, b Madrid, 1887. d Paris, 1927. Glasses, Newspaper and a Bottle of Wine. 1913. Collage, gouache, watercolour, coloured chalks and charcoal on paper. h45 x w29.5cm. hi 7% x wll7/s in. Private collection
 Baron Antoine-Jean Napoleon Bonaparte on the Bridge at Arcole

A victorious Napoleon defeats the Italians at the battle Louis David, Gros became a leader in the move of the moment. In the 1820s, however, Gros at¬
of Arcole in 1796. The strong character of Bonaparte’s towards Realism and Romanticism in French painting tempted to return to a more Neo-Classical style, and
face was obviously studied from life and gives the at the end of the eighteenth century. His sombre his popularity diminished. He slipped into obscurity,
painting a very realistic feeling. This is not a gener¬ palette and naturalistic compositions were a reaction and committed suicide in 1835.
alized representation of victory but rather a depiction to the strong colours and theatrical set-pieces of the
of a specific, contemporary event. Although trained Neo-Classicists. Gros was made official war painter by
by his close friend the Neo-Classical painter Jacques- Napoleon, and successfully captured the atmosphere ► J-L David, Delacroix, Gericault, Lawrence

233

Baron Antoine-Jean Gros. b Paris, 1771. d Bas-Meudon, 1835. Napoleon Bonaparte on the Bridge at Arcole. 1796/7. Oil on canvas. hl34 « wl04cm. h52% * W41 in. Hermitage Museum, St Petersburg
 George Berlin Streetscene

An elegant lady in heels and a fur collar haughtily on the affected patriotism, selfish greed and depraved came to combine the satire of old with a new
curls her nose at a dapper gendeman who winks at sensuality of the period, it is one of many which the romanticism. He began his career as a caricaturist and
her in a fashionable street. Only interested in their artist produced that have a nightmarish quality. Grosz’s became a leading member of the Dada group in Berlin
own flirtatious exchanges, they do not notice the old disgust at a decaying society of distorted morals, after 1918.
man in a threadbare suit begging for money. This propaganda and self-indulgence led him to vent his
watercolour scathingly caricatures the appalling social anger through his biting satirical caricatures, and
conditions of post-First World War Germany. A satire eventually to emigrate to the USA. His work gradually ► Daumier, Dix, Hausmann, Schwitters

234

George Grosz, b Berlin, 1893. d Berlin, 1959. Berlin Streetscene. 1930. Watercolour, ink and oil on paper. h60 * w46cm. h23'/2* wl8 in. Private collection
Griinewald Matthias The Crucifixion

A book in one hand, John the Baptist points towards Mary Magdalene kneels at the foot of the cross with known by the wrong name for 300 years; his real
the dying figure of the crucified Christ. The Latin her perfume pot beside her, and the Virgin Mary faints name was in fact Mathis Gothardt Neithardt and
inscription behind his arm reads, Ilium oportet crescere, into the hands of John the Evangelist. Griinewald’s he was misnamed Griinewald by a seventeenth-
me autem minui (‘He must increase, but I must aim was that the viewer should be moved with the century biographer.
decrease’). Christ’s elongated fingers are splayed by same intensity of emotion as the figures in the
the force of the nails, blood trickles from the gash in painting. He was a contemporary of Albrecht Diirer
his side, and his flesh is covered in festering wounds. and considered as popular. Ironically, however, he was ► Purer, El Greco, Masaccio, J C Orozco, Rouault

235

Matthias Griinewald (Mathis Gothardt Neithardt). b Wurzburg, 1470/5. d Halle, 1528. The Crucifixion. c!515. Oil on panel. h269 x w307crrrt4il06 x w!20% in. Musee d'Unterlinden, Colmar
 Guardi Francesco An Architectural Caprice

Through an arcade a piazza opens out, and a wide city to create a plausible Venetian view. Guardi owes half-invented elements, Guardi interprets rather than
staircase leads up to a monumental building. The scene much to the example of Canaletto, an artist with reproduces Venice, capturing a sparkle of light and
is peppered with incidental detail, such as the sheets whom he has always been closely associated and who movement which is absent from Canaletto’s inter¬
draped over the balcony and the elegandy dressed was perhaps his master. Unlike Canaletto’s precise pretations of the same city
nobles giving coins to the beggar-boy. All of this ani¬ technique, however, Guardi’s style is characterized by
mates and enlivens the picture. Although it is an the freedom and spontaneity of his brushwork, adding
invented cityscape, Guardi used elements of his native a great sense of gusto to the scene. Full of romantic, • Bellotto, Bordone, Canaletto, Pannini, Siberechts

236

Francesco Guardi, b Venice, 1712. d Venice, 1793. An Architectural Caprice. cl770/80. Oil on canvas. h54 x w36 cm. h21'/i * wU'/s in. National Gallery, Londo.
Guercino Jacob Receiving Joseph's Coat

The elderly Jacob is seen at the moment of being marble balustrade, which takes on the appearance intensity of Caravaggio’s art. Although dramatic
given the cloak of his favourite son Joseph, whom his of a mortuary slab. Dramatically set against a sombre lighting similar to Caravaggio’s has been used, in this
jealous brothers have sold into slavery. The cloak is sky, the figure of Jacob dominates the canvas with painting it has been softened to enhance the richness
stained with the blood of a goat in order to fool Jacob its robust monumentality. The condensed, heightened of the colours.
into thinking Joseph has been killed by a wild animal. emotion of the picture makes this a masterpiece of
Jacob raises his right hand and rolls his eyes heaven¬ the Baroque spirit. Guercino was a pupil at the Carracci
ward, as if pleading with God. The cloak rests on a Academy, but was also influenced by the realism and ► Caravaggio, Carracci, Jordaens, Reni, Ribera

237

Guercino (Francesco Barbieri). b Cento, 1591. d Bologna, 1666. Jacob Receiving Joseph's Coat. cl625. Oil on canvas, hi 15.5 * w94 cm. h45V, * w37 in. Burghley House, Stamford
 Gursky Andreas 99 Cent

Row after row of brightly coloured candy bars form figures overwhelmed by the modern world. The son subservient to the formal qualities of the composition.
an intricate geometric pattern. Taken from a vantage of successful commercial photographers, Gursky’s In the early 1980s Gursky attended the Staatliche
point looking down upon the floor of an American huge-format photographs monumentalize the Kunstakademie in Diisseldorf, where he studied for
convenience store, Gursky’s photograph captures mundane and the familiar. From close-up images of six years with Bemd and Hilla Becher. He found early
the systematic nature of the modern retail experience. industrial carpets to densely populated panoramic inspiration in the work of Jeff Wall.
The anonymous shoppers browsing the aisles appear views of factories and stock exchanges, Gursky creates
consumed by the mass of products on display; isolated images in which the subject matter can often appear ► Becher, Estes, Shore, Struth, Wall

Andreas Gursky b Leipzig, 1955. 99 Cent. 1999. Chromogenic colour print. h207 * w337cm. h81'/2 * wl32’/2 in. Private collection
Guston Phil ■P Sleeping

A tramp-like figure, possibly the artist himself, lies in a associated with the Abstract Expressionists in his Guston taught painting until the late 1950s when
dark and gloomy place. The cartoon character has been earlier period, in 1970 he publicly abandoned this style he was awarded a Ford Foundation grant and his
portrayed with deliberate clumsiness, the paint applied for a rather raucous form of figuration with the international reputation was swiftly established with
in bold, forceful strokes with a limited palette of reds, explanation, ‘I got sick and tired of that purity, wanted a major retrospective at the Guggenheim Museum
pinks, black and white. Painted in the last phase of to tell stories.’ Using a comic-strip technique and harsh in 1962.
the artist’s career, this work is an ironic comment on discordant colours, his paintings comment on such
low-life urban society. Although Guston was closely social topics as the homeless and the Ku Klux Klan. ► Baselitz, Kline, De Kooning, Pollock, Rothko

239

Philip Guston. b Montreal, 1913. d Woodstock, NY, 1980. Sleeping. 1977. Oil on canvas. h213.3 * W175.2 cm. h84 * w69 in. Private collection
 Hals Frans Portrait of a Young Man with a Skull

The young man has been painted with dazzling vigour portrait but what was known as a ‘vanitas’ scene, gestures and expressions. However, this quality is quite
and spontaneity. The artist’s furious brushstrokes give dwelling on the inevitability of death and the shortness different from his contemporary Rembrandt’s more
the painting an almost impressionistic quality. This of life. The skull represents death, while the young introverted insight into the personality of the sitter.
creates a strong sense of character and movement in man symbolizes youth and vigour. Hals was a
the boisterous youth, whose real presence is suggested successful portrait painter who worked in Holland in
by his hand thrusting out of the canvas and into the early seventeeth century. He is well known for his
the viewer’s space. The painting is probably not a true vivid style, using rapid brushwork to capture fleeting ► Ter Brugghen, Claesz, Honthorst, Rembrandt, Rubens

240

Frans Hals, b Antwerp, 1581. d Haarlem, 1666. Portrait of a Young Man with a Skull. cl626/8. Oil on canvas. h92 * w81 cm. h36 * w32 in. National Gallery, London
Hamilton Richard Just What is it That Makes Today's Homes So Different, So Appealing?

This collage of a stylized 1950s interior is a landmark Hamilton has used embodies the American Pop art the indispensable categories for tomorrow’s world
in post-war art. The artist has combined cut-up movement which used symbols from contemporary were: “Woman Food History Newspapers Cinema
photographs and cuttings from magazines to create mass media, popular culture and advertising. Hamilton Domestic appliances Cars Space Comics TV
a consumer paradise — albeit a wittily sardonic one. played a seminal role in the development of the Telephone Information’. Later in his career he used
The ‘POP’ on the oversized lollipop is crucial as it British strain of Pop art. This collage was made for computer technology to create innovative works.
is probably the first visual reference to the word which an exhibition called ‘This is Tomorrow’, in London’s
heralded a major new movement in art. The imagery Whitechapel Art Gallery. For Hamilton in the 1950s, ► P Blake, Hausmann, Hoch, Jones, Schwitters

Richard Hamilton, b London, 1922. d Berkshire, 2011. Just What is it That Makes Today's Homes So Different, So Appealing? 1956. Collage on paper. h26 « w25 cm. hlO'/i * w93/nn. Kunslhalle, Tubingen
 Hammershoi vm..im Interior with a Girl at the Clavier

Cool, delicate pastel tones suggest a scene of peaceful vitality, and is flooded with the clear, sharp Scandi¬ escape into the past. Although he had to wait a long
serenity, with a girl seated at a clavier with her back navian light. Hammershoi was a Danish painter time for recognition of his work, he was much
to the viewer. A white tablecloth with crisp folds leads of quiet interiors in muted colours, chiefly grey, and respected by his contemporaries.
the eye into the shallow depth of the room, which his refined style has something mystical about it,
is enclosed by a pale-coloured wall. The uncluttered suggesting the work of seventeenth-century Dutch
composition recalls the spare, austere style of Japanese artists such as Jan Vermeer and Pieter de Hooch. His
prints, yet the whole painting breathes a freshness and art has a timeless quality, but it also offers a nostalgic ► Bonnard, De Hooch, Metsu, Sickert, Vermeer

242

Vilhelm Hammershai b Copenhagen, 1864 d Copenhagen, 1916. Interior with a Girl at the Clavier 1901. Oil on canvas. h56 * w44 cm. h22 * Wl7in. Private collection
 Hartung Hans T1956/7

Harsh, dramatic lines of black paint dominate a pale, with his brush and blank canvas he had no precon¬ are generally untitled and can only be distinguished
bland background. There is strength and energy in ceptions of the finished object. Born in Germany, by numbers. He joined the French Foreign Legion
the heavy calligraphy of the bundled sheaves of lines, Hartung settled in Paris in 193; and subsequently at the outbreak of the Second World War, and lost
assembled in a criss-cross pattern. Hartung’s forceful assumed French citizenship. He became one of the a leg in 1944.
and expressive image is an example of the intuitive and most famous French abstract painters. His elegant
spontaneous work known as Art Informel. The and distinctive work usually incorporates calligraphy,
essence of Hartung’s image is that when he started not unlike that used in Chinese art, and the paintings ► Dubuffet, Fautrier, Riopelle, Soulages, Tapies

Hans Hartung. b Leipzig, 1904. d Antibes, 1989. T 1956/7. 1956/7. Oil on canvas. hl61 * wl22 cm. h633/s * w48 in. Private collection
 Hassam Childe The Room of Flowers

A woman in a pink dress lounges on a divan, lazily going to Boston and then to Paris to study art. He of day or weather conditions which presented
reading in a light-filled room crowded with books, was converted to French Impressionism on seeing the technical challenges, such as reflections on wet
paintings, tables, chairs, ornaments and flowers. The work of Claude Monet, although his initial academic pavements, and he also favoured studies of women.
house is on the Maine-New Hampshire coast and training hindered him from completely adopting its Hassam was popular in his own lifetime, and often
belonged to Celia Thaxter who used it to entertain principles. Many of his early paintings, atmospheric won medals and awards.
poets and artists (Hassam among them). Hassam scenes of city streets in rain, snow or twilight, stress
worked as a wood engraver and illustrator before fleeting impressions of movement. He chose times ► Cassatt, Chase, Hammershoi, Monet, Sargent, Whistler

244

Childe Hassam b Boston, MA, 1859. d New York, NY, 1935. The Room of Flowers. 1894. Oil on canvas. h86.4 x w86.4 cm. h34 x w34 in. Private collection
Hausmann Raoul The Art Critic

Holding a Venus pencil in his right hand, a heeled payroll is he on? One of the many self-proclaimed humour. In 1923, Hausmann abandoned painting and
shoe glued to his brain, his eyes and mouth hidden by inventors of photomontage, Hausmann used cut-up four years later invented the optophone, an apparatus
superimposed features and with a sharp segment photographs and pages from newspapers and which turned kaleidoscopic forms into music.
of a fifty deutschmark bank note embedded in his magazines to construct his world of cynical imagery.
neck, Hausmann’s view of this art critic is both critical This work is an example of the Dada movement,
and controversial. Through whose eyes does he really whose members would incorporate ordinary objects
see? Whose words does he really speak? And whose into their art, often employing an absurd sense of ► P Blake, Ensor, Grosz, Hamilton, Hoch, Schwitters

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245

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Raoul Hausmann. b Vienna, 1886. d Limoges, 1971. The Art Critic. 1919/20. Photomontage. h31.7 x w25.4 cm. hl2'/2 x wlO in. Tate, London
 Hayter Stanley William Claduegne

Continuous wave-like patterns created by curving before becoming one of the foremost graphic artists Atelier 17, an experimental workshop where artists
ribbon forms charge this hypnotic print with a swirling of his time, ceaselessly experimenting with textures of all nationalities, such as Pablo Picasso, Marc
rhythm and a feeling almost of electricity. The sharp and colours in new techniques. He was one of the Chagall, Alberto Giacometti and Yves Tanguy, could
colours give this pattern, which has neither beginning earliest members of the Surrealist movement, but work together. During the Second World War, it
nor end, an acidity that paradoxically also has the made his greatest mark as a master innovator of moved to New York, but returned to Paris in 1950.
qualities of velvet. Although born of a long line printmaking and engraving. Most of his life was spent
of artists, Hayter began his career in the oil industry in Paris where, in 1926, he founded the famous studio, ► Chagall, Giacometti, Hartung, Picasso, Riley, Tanguy

246

Stanley William Hayter b London, 190) d Paris, 1988. Claduegne. 1972. Etching on paper. h49* W60 cm. hl9'/< * W23V4 in. Private collection
Heckel Erich Windmill, Dangast

Waves of bright, loosely applied colours sweep up a superb lithographer. He fled from his native formed part of a small group who wished to
the canvas in rhythms and encircle the windmill on Germany to Switzerland in 1944, after over seven free themselves from established artistic doctrines,
the brow of a hill, the focal point of the painting. Red, hundred of his paintings were removed from German developing an intensely Expressionistic style
yellow, blue, green and black clash vigorously with museums by the Nazis. His work was much influenced called ‘Die Brucke’, or the bridge, which suggests
each other, creating a vibrating tension, yet this simple by Vincent van Gogh and the Fauves — a name given a connection of their art to that of the future.
composition has a strange, lyrical quality. Heckel to several artists whose paintings were full of distor¬
studied architecture before turning to painting and was tions, flat patterns and vivid colours. He eventually ► Derain, Van Gogh, Kirchner, Matisse, Vlaminck

Erich Heckel b Dobeln, 1883. d Radolfzell, 19/0. Windmill, Dangast. 1909. Oil on canvas. h69 « w80cm. h27 * w31'/z in. Wilhelm-Lehmbruck-Museum, Duisburg
 Jan Davidsz Still Life of Dessert

A profusion of fruits and exotic foods mingle with with rich allusions and hidden symbolism of Christian, of artists, and inspired still-life painters of the seven¬
an array of ornate goblets, jars and wine botdes on philosophical and metaphysical ideas. This work, teenth and eighteenth centuries, as well as Henri
a sumptuously laid table. This rich visual feast glows however, is purely a celebration of the senses. De Matisse, who admired this particular work so much
with lavish, sensual colour and, although appearing Heem is considered by many to be the greatest Dutch that he made two copies of it.
haphazard, was in fact composed with great care. still-life painter, whose deep, brilliant colours and sure
In the Netherlands at the time, artists would display touch suggest that he may have studied the works
their skill by painting a wide range of objects, often of Jan Vermeer. He was the most gifted of a family ► Arcimboldo, Claesz, Kalf, Ruysch, Snyders, Vermeer

248

Jan Davidsz de Heem. b Utrecht, 1606. d Antwerp, 1683/4. Still Life of Dessert. 1640. Oil on canvas. hl49 * w203 cm. h58'/s x w80 in. Museedu Louvre, Paris
 Heizer Michael Dissipate 2

Five rectangular depressions scar the Nevada desert. a huge flat canvas on which Heizer drew, carving out ‘earthworks’ in the movement that came to be
Randomly placed, their arrangement was decided after negative sculptures defined by empty space, by absence called Land art. Site-specific, responding directly to
Heizer dropped five matchsticks on to a piece of that is nevertheless palpably present. The trenches its surroundings, Land art is often created, as here,
paper, in a Dada-like challenge to rational design. were originally lined with wood, which was left to in remote or abandoned places, to which the journey is
Dissipate 2 formed part of Nine Nevada Depressions, a deteriorate. According to Heizer, ‘As the physical deteri¬ a kind of pilgrimage, an integral part of the experience
group of works created by digging into the earth along orates, the abstract proliferates, exchanging points of the work itself.
the California/Nevada border. The desert became of view.’ Nine Nevada Depressions was one of the first ► Adams, Long, Matta-Clark, Smithson

Michael Heizer. b Berkeley, CA, 1944. Dissipate 2. 1968. Five wood-lined excavations, each d30.5 x 1365.8 x w30.5 m. dl2 x ll44 * wl2 in. Overall area, 11524 x w!372 cm. 1600 x w540in. Black Rock Desert, Gerlach, NV
 Hepworth Barbara Hollow Form with White Interior

Holes in the wood invite the viewer to peer through countryside, conveys a sense of harmony with the largely of abstract sculpture, without allying herself
them. Made from the scented African hardwood natural world. Hepworth began, like Henry Moore, to any particular movement. She married the painter
guarea, the piece has been polished smooth, its by piercing holes in her works and went on to carve Ben Nicholson and setded in St Ives, Cornwall, where
gleaming surface contrasting sharply with the chiselled out the insides, as in caves hollowed out by the sea, she drew inspiration from its dramatic coastline
and painted hollows. Although abstract in style, the often using string or wire to suggest a musical and landscape.
sculpture, the curves of which may reflect the artist’s instrument. Although Henry Moore was an influence,
early memories of the undulating Yorkshire she developed her own spare and economic style ► Archipenko, Arp, Gabo, Moore, B Nicholson

250

Barbara Hepworth. b Wakefield, 1903. d Stives, 1975. Hollow Form with White Interior. 1963. Partially painted guarea wood. h99cm. h39in. Private collection
 Heron Patrick Fourteen Discs: July 20,1963

Blocks of pure tint are arranged with delicate precision and textile designer, was a conscientious objector an art critic for some years. Many one-man exhibitions
in order to create harmony of form and colour. Either during the Second World War, and worked as a farm of his work have been held worldwide.
painted or inscribed on the canvas are a series of labourer. He was associated with the artist Ben
discs. With no subject matter to disturb the visual Nicholson and the sculptor Barbara Hepworth in St
purity of the group of different forms and colours, this Ives in Cornwall, and all three, in their different ways,
abstract has subtle lyrical qualities and could be seen followed an abstract style. As well as teaching at
as a refined sensual meditation. Heron, a painter, writer the Central School of Art in London, he was also ► Hepworth, Klee, lanyon, Matisse, Miro, B Nicholson, Noland

Patrick Heron, b Leeds, 1920. d Zennor, Cornwall, 1999. Fourteen Discs: July 20, 1963. 1963. Oil on canvas. hl52 » w213cm. h59 * w83 in. Collection of the artist's estate
 Hesse Eva Sequel

Ninety-one irregular cast-latex balls lie randomly on smooth but ragged, irregular surface like handmade in contrast to the machine-made perfection and
a thin latex mat, which serves as a platform and at paper. The imperfection of the forms was essential objectivity of Minimalism, and insisting that the
the same time reveals, in its suppleness, every crevice to their artistry, and represented for her the creative process of creation was as important as the work
and curve of the floor, mediating between the art process itself. During a brief career lasting only of art that resulted from it.
and the space that contains it. Industrial latex is meant a decade before her death aged thirty-four, Hesse
to be cast, but for this mat Hesse used the material like became a leading proponent of Process art (sometimes
paint, brushing it on layer by layer to build up a called Post-Minimalism), embracing organic forms ► Arp, Bourgeois, Hepworth, Kapoor, Noguchi

Eva Hesse b Hamburg, 1936. d New York, NY, 1970. Sequel 1967. 91 latex spheres, pigmentand cheesecloth. Installation variable, sheet W76.2 * 181.3 cm. W30 x |32 in. Art Institute of Chicago, Chicago, IL
Hicks Edward The Peaceable Kingdom

Wide-eyed animals, cherubic children and an idealized Peaceable Kingdom represented the eleventh chapter paint tavern signs. His landscapes reflected the
landscape give this painting a sense of natural order. of the book of Isaiah, which praises peace between Christian values he preached and he sold them to
In the background, William Penn, the founder of men and animals. It was a subject that Hicks returned finance his missionary travels. His honest approach
the US state of Pennsylvania, concludes a treaty with to again and again, and scores of versions exist, is typical of early American painting.
the Indians, further emphasizing goodwill and each with minor variations. Hicks, an active Quaker
harmony. The naive style and basic colour scheme preacher, began as an apprentice to a coachmaker,
reinforce the work’s simple message. For Hicks, the painting decorative panels for coaches, and went on to ► Agasse, BassanoJ Bruegel, Catlin, H Rousseau

253

Edward Hicks, b Bucks County, PA, 1780. d Langhorne, PA, 1849. The Peaceable Kingdom. cl833/4. Oil on canvas. h44.5 * W59.3 cm. hl7V:* w23‘ '! in. Philadelphia Museum of Art, Philadelphia, PA
 Hilliard Nicholas Young Man Among Roses

The motto “My praised faith causes my suffering’, his time, believed that portraits should be painted her to toadying courtiers for huge sums of money.
inscribed in Latin at the top of this portrait, echoes without shadows so as to flatter the sitter, and He set a new tradition in portrait painting, but never
the themes of love found in contemporary sonnets by according to his own account, Queen Elizabeth I achieved in his larger works in oils the quality and
Shakespeare. This miniature, idealized portrait of a agreed with him. He trained as a goldsmith in his delicacy of his miniatures, many of which were
lovesick young dandy may have been a gift to a woman father’s shop and began painting miniatures at the age actually worn as jewellery.
with the intention of showing his love was sincere. of thirteen. He later worked for the Queen as a
Hilliard, probably the most famous English painter of goldsmith and portrait painter, selling miniatures of ► Dobson, Holbein, Kneller, Moron

254

Nicholas Hilliard b Exeter, cl547 d London, 1619. Young Man Among Roses (portrait miniature). cl590. Watercolour on vellum. hl3.4 x w7 cm. h5'/x x w6% in. Victoria and Albert Museum, London
Hiroshige Ando Moonlight, Nagakubo

Trudging wearily across a wooden bridge over a river impressed by the older master’s more austere style, imported to the West. The Impressionists in particular
are three figures and a donkey, silhouetted against although his own works are freer and more realistic were profoundly influenced by Hiroshige’s fresh
the moon. In contrast, a comical group of figures in in colour. His prints have come to epitomize Japanese approach, and Claude Monet collected a large number
the foreground is shown as if in daylight. Firm, rigid art in their unsophisticated, poetic simplicity. Seen in of his prints.
outlines define the shapes, which are filled in with solid their own day as merely popular art, his landscapes
blocks of colour. The Japanese artist Hiroshige was had an electrifying effect on European artists at the
a younger contemporary of Hokusai, and was much end of the nineteenth century, when they began to be ► Araki, Degas, Hokusai, Monet, Utamaro, Whistler

Ando Hiroshige, b Edo, 1797. d Edo, 1858. Moonlight, Nagakubo. 1840. Polychrome woodblock print on paper. h22 » w34cm. h8Vb x wl3'/2 in. British Museum, London
 Hirst Damien For the Love of God

A platinum cast of a human skull has been encrusted of the memento mori, For the Love of God marked a assistants in multiple editions. It has been suggested
with 8,601 flawless diamonds. In the centre of the continuation of Hirst’s preoccupations with ideas of that the title of the present work was inspired by his
forehead sits a large pink diamond called the Skull Star shock, fear and mortality - qualities with which he first mother’s remark, ‘For the love of God, what are you
Diamond. Costing a reputed £14 million to make, became synonymous in the 1990s with his series of going to do next?’
in 2007 the work was exhibited in the ‘Beyond Belief’ works in which dead animals were preserved in vitrines
show at the White Cube gallery in London with a price of formaldehyde. Hirst’s oeuvre includes paintings
tag of £50 million. Whilst clearly evoking the tradition as well as sculpture; much of it produced by his many ► Cattelan, Claesz, Judd, Koons

256

Damien Hirst b Bristol, 1965. For the Love of God. 2006. Platinum, 8,601 diamonds and human teeth, hi7.1 * wl2.7cm. h63A * w5 in. Private collection
Hobbema Meindert Road on a Dyke

Warm brown tones dominate this peaceful, autumnal itself; only a close look reveals the houses, half-hidden dam’s wine tax, and from that moment his painting
scene. Winding paths which lead the eye into the by trees. Hobbema was a friend and pupil of Jacob van dwindled almost to nothing. For the last forty years
picture create an illusion of depth. Hobbema was Ruisdael, and the two men even occasionally painted of his life, he devoted his energy not to art but to
meticulous in reproducing accurately the play of light the same views, but Ruisdael tended to give the scene inspecting casks of wine.
on every leaf and blade of grass, and the ripples drama, while Hobbema preferred to give the impression
made by the ducks on the pond. Animals and humans of a particular place. In the 1670s, at the height of his
are secondary here to the beauty of the landscape powers, he became, by marriage, collector of Amster¬ ► Bierstadt, Constable, Corot, Van Goyen, Ruisdael

Meindert Hobbema, b Amsterdam, 1638. d Amsterdam, 1709. Road on a Dyke. 1663. Oil on canvas, hi 08 * W128.3 cm. h42'/2 * w50'/2 in. Private collection
 Hannah Cut with the Kitchen Knife...

Hoch bombards us -with a disorientating and complex German society in the years following the First World The kitchen knife also has domestic connotations.
arrangement of images and words. Political and War. The only female member of the Berlin Dada The bottom left corner of the work includes a small
military leaders, artist and writers — some of them group, Hoch helped to pioneer photomontage as an portrait of the artist pasted over a map showing
morphed into grotesque hybrid creatures — are avant-garde medium. The rather long title of the work the European countries in which women had gained
scattered within a landscape of industrial components. not only implies a violent attack against the culture the right to vote.
In this politically loaded work, the artist successfully of greed that she saw in Germany at the time, but also
captures the chaos and fragmentation that affected the process of cutting involved in making the montage. ► Dix, Grosz, Hausmann, Kruger, Schwitters

Hannah Hoch b Gotha, 1889. d Berlin, 1978. Cut with the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany. 1919. Photomontage and collage with watercolour, hi 14 x w90 cm.
h44 7/» * w35Vi in. Nationalgalerie, Staatliche Museen zu Berlin
 Hockney David A Bigger Splash

Under the intense, Californian sun, an unseen figure a hospital orderly during his National Service, he was pensive, leisured world. A brilliant draughtsman,
creates a splash in a pool. Hockney applied paint with persuaded away from abstract art by fellow-student Hockney often embraces the latest technological devel¬
rollers, using small brushes for the splash to suggest R B Kitaj, and from his earliest work was associated opments. In the 1980s he exhibited drawings sent
its sound exploding in the stillness. In one of his most with the Pop art movement. A visit to California via fax machines, and more recently has created works
consciously planned and evocative images, he contrasts (where he would live for many years) inspired the using an iPad.
the fleeting moment with the skilled technique that famous series of swimming pool and lawn and
captured it. A conscientious objector who worked as sprinkler paintings, which coolly observe this ex¬ ► P Blake, Hamilton, Hopper, Kitaj

David Hockney, b Bradford, 1937. A Bigger Splash. 1967. Acrylic on canvas. h243.8 * w243.8 cm. h96 x w96 in. Tate, London
 Hodgkin Howard Lovers

At first sight this painting seems abstract, but in fact it and he usually shows people captured at a precise has also developed a strong reputation in this field.
represents a memory of a real encounter. The ecstasy moment, reflecting some intense, personal memory. In 1985, Hodgkin won the UK Turner Prize for
of the lovers is conveyed through the dramatic swirls During time spent in India, Hodgkin was attracted contemporary art.
of intense colour. As is his habit, Hodgkin uses wood by traditional Indian art. Its influence can be seen in
as a base for the painting and carries the paint over his use of brilliant colour and his preference for small-
onto the frame itself, incorporating it into the picture. scale works. His style, however, is entirely individual
He has said that painting must relate to relationships, and personal. An inventive and prolific printmaker, he ► Chagall, Heron, Kossoff, Matisse, Rodin, Rothko

Howard Hodgkin b London, 1932. Lovers. 1984-9. Oil on panel, hi71.5 * wl85.4 cm. h67'/2 * w73 in. Private collection
Hodl er Ferdinand Lake Thun

Highly ordered and symmetrical, the formal elements composed in a rhythmic pattern of layers of forms in objects, and in Art Nouveau, with its curling tendrils
of this painting have been carefully balanced to create and colour. Hodler evolved a highly decorative style and stylized leaves. The linear, flat style which he
a sense of calm. In the cool air of early morning of landscape with strong colours and outlines, using eventually developed, using colour as an important
the lake is pink, reflecting the glow of the rising sun. parallel motifs for his effects. He was influenced element, heralds the Expressionist movement.
Our view of it has been restricted, flattened and by Camille Corot and Gustave Courbet in the early
simplified as if to present us with only the essence of part of his career but later his paintings showed the
the scene, with all unnecessary detail eliminated, and artist’s interest in Symbolism, with its hidden meanings ► Bocklin, Corot, Courbet, Denis, Frankenthaler, Witz

Ferdinand Hodler. b Bern, 1853. d Geneva, 1918. Lake Thun. 1905. Oil on canvas. h80.2 * wlOOcm. h31 V4 x w39'/3 in. Museed'Artetd'Histoire, Geneva
 Hofmann Han* Fairy Tale

Swirling brushstrokes, applied with verve and panache, the image he wanted. In his drive to reproduce the Hofmann, as painter and teacher, was one of its most
mingle together in a multitude of vibrant colours. visions in his mind’s eye, Hofmann even eliminated important advocates and his work greatly influenced
Hofmann sought in this formless abstract to express the brush, pioneering the technique of pouring Jackson Pollock. Born in Bavaria, Hofmann lived
the spirit or soul. He deliberately avoided both or dribbling the paint direcdy onto the canvas to create in both Munich and Paris for several years before
applying the paint with conscious care, and having strong explosive patterns. This search for the ultimate emigrating to the USA in 1932.
a preconceived idea of how he wanted the painting to expression of a mood or emotion, free from all artistic
look, as if his artist’s hand, left to itself, would create conventions, was known as Abstract Expressionism. ► Frankenthaler, Gorky, De Kooning, Pollock

262

Hans Hofmann, b Weissenberg, 1880. d New York, NY, 1966. Fairy Tale. 1944. Oil on wood. hl52 * w92cm. h-59'/a x w36in. Private collection
Hogarth William The Tete a Tete (from Marriage A-la-Mode)

It is afternoon, a chair lies overturned, cards are the mantelpiece, the florid, fantastical clock and the were made from the original oils and their immense
strewn on the carpet and the debt collector rolls his marble bust which looks more like a pig than a Roman popularity made him famous. Although his works
eyes in exasperation. Late nights of drinking and noble. Apprenticed to an engraver, he learned the trade parallel those of the Rococo painters in France, his
gambling, overspending on an opulent house and the and eloped with the engraver’s daughter. Tiring of comic wit and style are utterly English.
whims of an indolent wife are satirized in this portrait. conventional art forms, he specialized in scathing, even
For Hogarth, criticism of taste was also criticism savage, visual commentaries on social conditions, made
of manners and he mocks the grotesque objets d’art on up of a series of pictures which told a story. Engravings ► Boucher, Chardin, Fragonard, Steen, Watteau

William Hogarth, b London, 1697. d London, 1764. The Tete a Tete (from Marriage A-la-Mode). cl 743. Oil on canvas. h69.9 * w90.8 cm. h27’/2 * w353/4 in. National Gallery, London
 Hokusai Katsushika Mount Fuji in Clear Weather

Majestically simple and unsophisticated, this view it appeared in his mind’s eye. He was apprenticed to brush the momentary landing of a sparrow on an
of the much venerated Mount Fuji is direct and a wood engraver who taught him conventional ear of corn, for example. The bold simplicity of his
immediate. For many, this is the ultimate repre¬ painting and book illustration, but he later abandoned designs and use of colour greatly influenced European
sentation of Japan’s most famous landmark. Rather this for the coloured woodcut designs of the Ukiyo-e artists, particularly Edouard Manet and his circle.
than following the conventions of perspective, the (or ‘floating world’) school, which concentrated on
Japanese artist Flokusai produced an image straight ordinary things in everyday life. He delighted in feats
from his imagination, a view as fresh and pure as of artistic skill, dashing off in a few strokes of the ► Hiroshige, Hodler, Manet, Utamaro, Whistler

Katsushika Hokusai, b Edo, 1760. d Edo, 1849. Mount Fuji in Clear Weather, cl 823-9. Polychrome woodblock print on paper. h27* w38 cm. hlOVi * w15 in. British Museum, London
Holbein Hans The Ambassadors

The two sitters, so confident of their importance, are and arrogance must end in the grave, however, by His portraits of Henry VIII, his queens and ministers
Jean de DinteviUe, the French Ambassador to England, contrasting their splendid richness with symbols illustrate Holbein’s masterful technique and gift
and his friend, George de Selve, Bishop of Lavaur. of death: the broken string on the lute, and the dis¬ for revealing character. He died in London, a victim
An elaborate collection of musical, astronomical and torted skull yawning before them which can be seen of plague.
scientific instruments symbolizes their learning and only if standing to one side of the picture. Holbein
power. The sundial sets the scene precisely at 10.50 am was the greatest portrait painter of his time and
on 11 April. Holbein shows that all this magnificence was appointed official painter to the English Court. ► Claesz, Diirer, Van Eyck, Hals, Massys, Sittow

265

Hans Holbein, b Augsburg, 1497/8. d London, 1543. The Ambassadors. 1533. Oil and tempera on panel. h207» w209cm. h81'/t « w82'/2 in. National Gallery, London
 Holzer Jenny Truisms

During a baseball game between the New York Mets her readings into short statements, she exhibited of power comes as no surprise’, ‘There is a fine line
and the San Francisco Giants, the scoreboard suddenly signs in Manhattan telephone booths and on buildings, between information and propaganda’. The anonym¬
projects a pithy statement that seems at first arbitrary, eventually extending her oeuvre to include the elec¬ ous, silent voice speaks in streaming light diodes,
the thoughtfully relevant. It is one of Holzer’s ‘truisms’. tronic billboard in Times Square and the Guggenheim sending concise opinions in seamless cycles of light,
Holzer first began to explore the idea of language as Museum ramp. Combining computer-controlled LED thoughts inspiring thought.
art while studying literature and philosophy in New lights and axioms derived from classical philosophy,
York. Simplifying complex and abstruse thoughts from Holzer’s aphorisms are deliberately challenging: ‘Abuse ► Baldessari, Kruger, Merz, Nauman, Wool

266

Jenny Holzer b Gallipolis, OH, 1950. Truisms. 1977-9. Electronic sign. h732 * w976 cm. h288 * w384'A in. As installed at Candlestick Park, San Francisco, CA, 1987
Homer Winslow Breezing Up

Three young boys and a fisherman weigh down expression of American country life in the 1860s the work of the contemporary French Impressionists,
the starboard side of a sailboat as it tacks against the and 1870s. The small boat is registered in Gloucester, he was never direcdy influenced by them. With Thomas
breeze. Painted in the same year that Mark Twain Massachusetts, a small town on the New England coast Eakins, Homer is considered the leading American
wrote Huckleberry Finn, Breeding Up evokes a sense of that was popular among artists and where Homer spent representative of naturalism, the realistic depiction of
childhood, fresh air and summers outside that is typical many summers during the 1870s. Although Homer’s the contemporary world.
of Homer’s work of the mid-nineteenth century. choice of subject matter and his honest representation
His work is indeed considered the most authentic of the world around him is sometimes compared to ► Bellows, Bingham, Eakins, Pissarro

Winslow Homer, b Boston, MA, 1836. d Prout's Neck, ME, 1910. Breezing Up. 1876. Oil on canvas. h61.5 * w97cm. h24'/e » w38’/e in. National Gallery of Art, Washington, DC
 Honthorst Gerrit van Christ Before the High Priest

Christ stands before the high priest of Judea, brought and crossed hands; the surrounding soldiers fade and compositions of only a few figures, were used to
there by Roman soldiers to be questioned about his into the shadows. Honthorst was a master of the create darkly atmospheric scenes. Carefully directing
teachings in light of the Jewish laws that are written in nocturnal scene, and the most famous member of a single light source, Honthorst fills a potentially static
the book lying between them. The flickering candle the Dutch caravaggisti, followers of Caravaggio. These scene with drama and suspense.
flame forms the centre of the composition, its intense early seventeenth-century artists were fascinated by
light harshly illuminating the face and pointing finger the Italian painter’s vigorous manipulation of light
of the priest, and then more gendy Christ’s robe, face and shadow which, combined with minimal settings ► Bernini, Ter Brugghen, Catena, Caravaggio, Jordaens

268

Gerrit van Honthorst, b Utrecht, 1592. d Utrecht, 1656. Christ Before the High Priest. cl617. Oil on canvas. h272 x w183 cm. hl07 x w72 in. National Gallery, London
De Hooch Pieter Woman and a Maid with a Pail in a Courtyard

This peaceful picture of a domestic event is carefully paint a dark foreground, with an open door leading to wonderfully lit, simple homes for rather forced scenes
built up of tiny, meticulously observed details. The a brightly lit inner room. There is an atmosphere of of high life. The people in them became richer, while
clear light gives the scene a sharp reality, in which the calm, of ordinary, everyday life, but there is also a sense the paintings themselves were poorer, and lost the
two figures would seem almost locked in a timeless, that its quiet and simplicity are in themselves beautiful. quality of light.
enclosed world were it not for the open door of the De Hooch’s early paintings usually showed two or
courtyard looking out onto a street. The doorway three people engaged in household tasks, in a room
was a favourite device of De Hooch’s: he would often flooded with light. His later works abandoned these ► Ter Borch, Dou, Metsu, Steen, Vermeer

269

-1

Pieter de Hooch, b Rotterdam, 1629. d Amsterdam, 1684. Woman and a Maid with a Pail in a Courtyard. 1660-5. Oil on canvas. h53 * w42 cm. h20% » wl6 in. Hermitage Museum, St Petersburg
 Hopper Edward Cape Cod Evening

On the step of a house sits a man; to his right is a be hidden within. The various elements within the living in what was once, perhaps, a thriving rural
woman, her arms firmly folded across her body. The painting also appear somehow detached, as if community. The artist recalled that the painting was
woman looks towards a dog that stands in the long the house or the people do not really belong there. not of a specific place, nor modelled on specific
grass, its attention drawn to some unknown event Hopper’s painting captures the long-lasting despair people, but was an accumulation of sketches and
outside the picture. The scene has an eerie quality. that followed the Great Depression in America. mental impressions.
The darkness of the locust tree grove and the opacity As nature imposes upon their land, there is a sense
of the house’s windows suggest that something may that progress has come to a halt for this couple, ► Estes, Hockney, Wood, Wyeth

270

Edward Hopper b Nyack, NY, 1882 d New York, NY, 1967. Cape Cod Evening, 1939. Oil on canvas. h76.2 * W101.6 cm. h30 x w40in. Nationol Gallery of Art, Washington, DC
 Jean-Antoine Bust of Denis Diderot

This life-sized terracotta bust of the French gives insight into the mind of the artist as he commissioned from him a statue of their general,
philosopher still bears the marks of the sculptor’s developed his ideas into three dimensions. Floudon, George Washington, to honour his victory in
hands as he modelled the wet clay. Diderot’s eyes look the most celebrated French sculptor of the eighteenth the American War of Independence; it stands
away from the viewer, separating his world from ours. century, narrowly escaped imprisonment during the in the Capitol at Richmond, Virginia.
Following the same style of the Roman busts of Revolution. His most numerous works, however,
Antiquity, the sculpture for which this is a study is are portraits, which include some of the greatest men
smooth and flawless, but this rougher working model of his time. His fame was such that the Americans ► Algardi, Canova, Frink, Roubiliac

Jean-Antoine Houdon. b Versailles, 1741. d Paris, 1828. Bust of Denis Diderot. cl771. Terracotta. h41 cm. hl6'/ein. Museedu Louvre, Paris
 William Holman The Awakening Conscience

Looking into this typical Victorian drawing room, almost obsessive, attention to detail. With Dante in contemporary Victorian life. Hunt tried to paint
we see a woman start up guiltily from her lover’s knee, Gabriel Rossetti and John Everett Millais he founded ‘in direct application to Nature’, using friends rather
in mid-song, suddenly aware that what she is doing the Pre-Raphaelite Brotherhood, dedicated to than professionals as models. He completed few
is wrong. Victorian values are reflected here, and observing nature accurately, but was the only one pictures, spinning each one out as if he lacked the
the picture was intended to be a moral commentary. who remained faithful to its principles. Of all the Pre- motivation to finish it and begin another.
The patterned fabrics, grainy woods, busy wallpaper Raphaelite painters he and Ford Madox Brown were
and garish colours are typical of Hunt’s meticulous, most interested in representing moral and social values ► Fra Angelico, Botticelli, Brown, Millais, Rossetti

272

William Holman Hunt, b London, 1827. d London, 1910. The Awakening Conscience 1853. Oil on canvas. h76.2 x w55.9 cm. h29'/4 x w213A in. Tate, London
Ingres Jean Auguste Dominique The Bather of Valpincon

Named after the collector who first bought the picture, interior seems to freeze the scene in time and space. painted many idealized and exotic oriental scenes with
Ingres’s father of Valpinfon is a calm representation of Ingres was a superb draughtsman, but remained voluptuous nudes, although all the detail was second¬
Classical beauty in the human nude. Softened by the emotionally detached from his subjects and showed hand, since he never travelled outside Europe.
delicate reflected light, the bather suggests a cold, little interest in the expression of the human face.
languid eroticism, made ambiguous by her refusal to The polished perfection of his work was inspired by
meet the viewer’s gaze. The only sound or movement his Renaissance idol, Raphael. A leading figure in the
is that of a small spout of water, and the spartan Classical tradition of nineteenth-century France, Ingres ► Boucher, Canova,J-L David, Leighton, Maillol, Prud'hon

273

Jean Auguste Dominique Ingres, b Montauban, 1780. d Paris, 1867. The Bather of Valpincon. 1808. Oil on canvas. hl46 * w97.6 cm. h57'/2 * w38'/3 in. Museedu Louvre, Paris
 Ivanov Alexander The Appearance of Christ to the People

St John the Baptist, wearing a cloak over his tunic baptized can be seen clambering up the bank. Ivanov Although many of his Biblical paintings never got
of animal skins, raises his reed cross to the crowd that used Classical postures and dress, and adopted the beyond the drawing stage, they combined a sense
presses around him, and preaches the word of God restrained style of the Renaissance, hoping to achieve of mysticism with historical accuracy and original
to his followers. Ivanov illustrates the two things that the same noble grandeur and harmony as the great visual imagery.
mattered most to this rough visionary: his foretelling painters Raphael and Michelangelo. Most of his adult
of the coming of Christ and the baptisms he carried life was spent in Rome, where he came under the
out in the river Jordan. On the left, some of the newly influence of the Nazarenes, a religious artistic group. ► Canova, J-L David, Ingres, Overbeck, Poussin, Prud'hon

Alexander Ivanov, b St Petersburg, 1806. d St Petersburg, 1858. The Appearance of Christ to the People. 1837-57. Oil on canvas. h540 x w750cm. h212'/2 x w295'/a in. Tretyakov Gallery, Moscow
Jawlensky Alexei von Schokko

This strong, reflective portrait of a fashionable woman painting originates in the young model: she asked religious icons. This can be seen in one of his best-
has been painted in bold outlines. The intense clashing for a cup of hot chocolate (schokko) and thus adopted known works, the abstract series ‘Heads’, where
colours evoke powerful emotions of sensuality, yet the nickname. Russian-born, Jawlensky spent most features are reduced to straight, thick lines. The human
her mask-like face suggests a sexual remoteness. of his life in Germany but his style was rooted in face was a favourite theme: in his last series of paint¬
The importance of this painting lies in Jawlensky’s the art of his native country. It combined Fauvist ings, ‘Meditations’, it became a symbol of tragedy.
complete reliance on colour to construct the image elements, such as hard outlines and strong colour,
and to give it its emotional power. The title of the with those of peasant art or the mysticism of Russian ► Van Dongen, Gontcharova, Kandinsky, Marc

Alexei von Jawlensky. b Kuslovo, 1864. d Wiesbaden, 1941. Schokko. 1910. Oil on board mounted on canvas. h75 » w65cm. h29'/2 * w24'/2 in. Private collection
 Joh n Gwen The Precious Book

Cool tones dominate this simple portrait of a young an idiosyncratic personal style that was at once delicate in obscurity and self-neglect, she was overshadowed by
girl reading. The white handkerchief in which she and neurotic. Her portraits in particular (usually of her younger brother, Augustus, but is now recognized
cradles the book, her absorption in it, and the picture’s women) had an obsessive quality. She modelled for as the greater artist. She died unrecognized, a semi¬
tide itself imply that the book is special and deserves the sculptor Auguste Rodin, became his mistress and religious recluse.
reverence. Born in Wales, John learned draughtsman¬ moved to France to be near him, but this one-sided
ship at the Slade School in London, studied in Paris and disastrous liaison almost caused her to abandon
under James Abbott McNeill Whisder and developed her own work. During her lifetime, most of it spent ► Cassatt, Hammershei, Morisot, Rodin, Sickert, Whistler

276

Gwen John b Haverfordwest, 1876. d Dieppe, 1939. The Precious Book. cl920. Oil on canvas. h26.4 x w21 cm. hlO'/s x w8Vi in. Private collectioi
Joh FIS Jasper Three Flags

Johns chose to represent the American flag not because but presented us with a flag. He is not trying to fool us is regarded as one of the most important influences on
he was particularly nationalistic but because he was looking into believing that it is real, however. Encaustic, a medium American Pop art.
to paint the most banal, easily recognizable subject he used primarily by the Greeks, gives the painting a thick,
could find. What better than the Star-Spangled Banner? relief-like surface. Johns has superimposed three differently
Johns’ flag does not fly from a mast in glory, it is not carried sized flags on top of one another, reinforcing the image,
by a victorious soldier. It is flat, like a real flag would be if almost like a flashing light and creating a strange optical
it were pinned on a wall. Johns has not represented a flag effect. With fellow American Robert Rauschenberg, Johns ► Duchamp, Oldenburg, Rauschenberg, Thiebaud

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Jasper Johns, b Augusta, GA, 1930. Three Flags. 1958. Encaustic on canvas. h76.5 x wl 16 cm. h30’/8 * w45’/2 in. Whitney Museum of American Art, New York, NY
 Jones Allen Man Woman

One of a series of paintings with the collective title influenced by Jungian psychology, and by the philo¬ to explore further the erotic ideas in his work and
‘Hermaphrodite’, the headless male and female bodies sophy of Nietzsche who believed that the creation of consequendy many of his images of women are seen
melt into one another. The male figure in the brighdy art depends upon artists being able to integrate the as sexually provocative.
striped tie is in fact a self-portrait of the artist. In his male and female elements of their natures. Man
preoccupation with sexuality, Jones wanted to show Woman, an early example by Jones of a Pop art work, is
here the unity with another human being that can a visual representation of this theory. His paintings
only be achieved by the sexual act. He was deeply often tell a story. In the late 1960s and 1970s he was ► Hamilton, De Kooning, Polke, Warhol, Wesselmann

278

Allen Jones b Southampton, 1937. Man Woman. 1963. Oil on canvas. h213 * w!88.5 cm. h84'/2 * w74'/2 in. Tate, London
Jordaens Jacob The Four Evangelists

The four Evangelists contemplate the Scriptures, Rubens, Jordaens has captured his master’s vivid weak, but robust, Jordaens developed as an artist, his
which in turn inspire their own writings. Jordaens colouring, brushwork and skill in portraying natural style became more sombre and he was later patronized

gives us an insight into their personalities as they are flesh tones. The vigorous realism of the composition by the kings of Spain and Sweden.
absorbed in the study of the sacred text which rests owes far more to the influence of Caravaggio,
on a table. The half-length figures dominate the space, however, whose style Jordaens would have seen
almost obliterating the background of red velvety reflected in works by the Italian painter’s followers in
drapery and a glint of sky. A pupil of Peter Paul Utrecht. Although his early paintings were technically ► Ter Brugghen, Guercino, Honthorst, Rubens

279

Jacob Jordaens. b Antwerp, 1593. d Antwerp, 1678. The Four Evangelists. cl625. Oil on canvas.,. hi34 x wl 18 cm. h53 x w46'/2 in. Musee du Louvre, Paris
 Donald Untitled

This sculpture, from the series ‘Stacks’, consists of not to represent, imitate or express anything, nor is it be looked at as a whole, not as a collection of parts.
a vertical arrangement of identical rectangular boxes, ‘composed’ in any traditional sense. To achieve minimal In addition to sculpture, Judd designed his own
attached to a wall at right-angles in a mathematical personal contact with his work, the metal or Plexiglas furniture and designed and built several houses.
sequence. It demonstrates Judd’s simplification of boxes he used were put together in a factory, spray-
shape, volume, colour and surface, and reduces art painted and placed in position by other people. All
to its basic essential: the cube. Minimalist in style, like his pieces were called ‘Untitled’ and were as plain as
all his other pieces, the work is deliberately intended possible because he believed that a work of art should ► Andre, Flavin, Johns, LeWitt, Ryman

280

Donald Judd b Excelsior Springs, MO, 1928. d New York, NY, 1994. Untitled. 1993. Brass and green Plexiglas. h457.2 cm. hi 80 in. Private collection
Kabakov Ilya & Emilia Treatment with Memories

Treatment with Memories begins at a shabby wooden narrative via headphones in each room. Combining Before leaving the Soviet Union in the late 1980s,
door that leads into a gloomy corridor from which fiction with biography, the artists create unsettling Ilya was an established figure within the ‘unofficial’
additional doors lead in to six curtained rooms. In each and often oppressive environments that recall the Conceptual art movement in Moscow. He first
is a narrow hospital bed, three small stools, on which fears of life under a totalitarian regime, as well as more collaborated with his wife, Emilia, in 1989 — the extent
the viewer may sit, and a screen on to which images universal feelings of anxiety and despair. However, of her involvement depending on the requirements
of the absent occupants imaginary past are projected. in their allusions to the realms of fantasy and dreams, of each project.
Ilya and Emilia Kabakov provide an accompanying they also celebrate the resilience of the human spirit. ► Araki, Boltanski, Kienholz, Kippenberger

Emilia Kabakov b Dnepropetrovsk, Ukraine, 1945. Treatment with Memories. 1997. Wood, board, hospital bed, slide projection. Dimensions variable. As installed at the Whitney Biennial, NY
Ilya Kabakov, b Dnepropetrovsk, Ukraine, 1933
 Kahlo Frida What the Water Gave Me

The artist’s hallucinations and imaginings run riot in road accident at the age of fifteen, destroyed her hopes become something of a cult figure partly because from
this painting. It shows a bathtime reverie, in which of becoming a doctor. This painting, considered to be the mid-1940s she suffered from spinal problems and,
images of death, pain and sexuality float on the water’s her most Surrealist, is also the most complex of all her bedridden, continued to paint, often in terrible pain,
surface. As in many of her pictures, it is a kind of works, with its multitude of minute and irrationally until her death.
self-portrait, with Kahlo’s own legs painted from the arranged detail. She was married to the painter Diego
bather’s viewpoint, showing her deformed foot with its Rivera; they had a turbulent relationship, and at one
cracked big toe. Her injuries, as the result of a serious time she became a lover of Leon Trotsky. Kahlo has ► Corra, De Chirico, Dali, Delvaux, O'Keeffe, Rivera

282

Frida Kahlo b Mexico City, 1907. d Mexico City, 1954. What the Water Gave Me. 1938. Oil on canvas. h96.5 * w76.2 cm. h38 * w30 in. Private collection
 Willem Still Life with Lobster, Drinking Horn and Glasses

A collection of exotic and opulent objects laid out has been carefully placed so that the group forms mainly in Amsterdam. The deep, rich colours of
on the table is here painted with great brilliance and a harmony of colour, shape and texture. The warm the paintings of this still-life painter may have
depth of colour. A lobster, a drinking horn with its light enveloping the objects gives them a luxurious, been influenced by the work of his contemporary,
glittering mount of silver filigree work, crystal goblets, jewel-like quality and their rarity, sumptuousness Jan Vermeer.
a lemon and a Turkish carpet are painted with such and extravagance reflect the refined tastes of Dutch
fine attention to detail that Kalf creates the illusion seventeenth-century collectors, in a period when still
that they are real and could be touched. Each object lifes were immensely popular. Kalf lived and worked ► Claesz, De Heem, W Nicholson, Sanchez-Cotan, Vermeer

h86.4 x W102.2 cm. h34 x w40’/4 in. Notional Gallery, London

Willem Kalf b Rotterdam, 1619. d Amsterdam, 1693. Still Life with Lobster, Drinking Horn and Glasses. c!653. Oil on canvas.
 Kandinsky Wassily Cossacks

Colours, lines and shapes, hills and Cossacks with recognized that his true gifts were in the world of modern design. Kandinsky became aware of the
lances blend together in this strangely captivating semi- of art and he became one of the first and greatest power of abstract art after he saw ‘extraordinary
abstract painting. There is great beauty in its simple pioneers of ‘pure’ abstract painting. He returned beauty, glowing with an inner radiance’ in an abstract
composition and a sense of delight in the free brush¬ to Russia to teach from 1914 to 1922, founding the painting, before realizing that it was one of his own,
strokes. Kandinsky believed that the true artist seeks to Russian Academy. The Russian influence in his work seen upside-down.
express only inner, essential feelings. Having originally can be seen in his references to icons and folk art.
trained in Munich for a career in law, Kandinsky soon For a time, he taught at the famous Bauhaus school ► Delaunay, Gontcharova, Kirchner, Klee, Kupka, Miro

Wassily Kandinsky b Moscow, 1866. d Paris, 1944. Cossacks. 1910/11. Oil on canvas. h95 * wl 30 cm. h37'/2 * w51 !/e in. Tate, London
Kapoor Anish Installation: It is Man, Untitled 11 Parts

Like a standing stone from a prehistoric site, the forces of nature in these works, and to show in a new mythology and everyday life gathered on visits to his
sandstone beacon (It is Man) seems wrapped in a dimension — that of sculpture - that there is poetry native India. In keeping with a culture that expresses
mysterious aura. In the foreground, randomly placed in all natural things. His sculptures, often made from philosophical or spiritual theories in terms of sensual
slabs (Untitled 11 Parts) have been transformed by the stone or fibreglass, coated with layers of powdered images, some of his pieces take on the character
application of more than a dozen coats of blue pigment, often involve more than one of the senses, of a totem, with extravagant forms and loud colour.
pigment, lending them an ethereal, weightless quality. particularly touch. They show the traditions of both
Kapoor has tried to combine the spiritual with the East and West, and reflect ideas from philosophy, ► Friedrich, Gabo, Klein, Long, Moore, Noguchi

285

illy installed at Centre National d'Art Contemporain, Grenoble; now at lisson Gallery, London
Anish Kapoor, b Bombay, 1954. It is Man. 1989. Sandstone and pigment. Untitled 11 Parts. 1990. Slate and pigment. Original
 Katz Alex Ada with Bathing Cap

Cropped at the shoulders like a classical bust, with the of light on the water. Working alongside the Abstract of figures from contemporary life - musicians,
calm, inscrutable expression that has become famous Expressionists in 1950s New York, Katz appropriated artists, suburbanites, friends and family. The hard lines,
among images of artists’ muses, Katz’s wife and their vast scales and dramatic colours but insisted on dramatic cropping and uninflected colours of
favourite model, Ada, stands against a background recording what he saw. Less interested in inner feelings billboards and advertising in his paintings anticipated
of shimmering water and curving foliage. The ripples than external surfaces, he painted hairstyles and hats Pop art in the 1950s and 1960s, and give his work a
in her bathing cap suggest those on the surface of rather than emotions, and his works continue to contemporary freshness.
the lake, and the flecked brown eyes echo the patterns present the appearance rather than the psychology ► Lichtenstein, Richter, Tuymans, Warhol, Wood

Alex Katz b New York, NY, 1927. Ada with Bathing Cap. 1965. Oil on Linen, hi 52.4 * wl82.9 cm. h60 * w72 in. Private collection
Kauffmann Angelica David Garrick

In an unusual and disarming approach, Kauffmann has portraits of Italian notables at the age of eleven, and Many engravings were made of these Classically
captured the private, sensitive side of the great actor was persuaded by Sir Joshua Reynolds to go to London. inspired, idyllic scenes which were used in the
David Garrick’s personality. The way in which Garrick She soon became famous for her Classical and myth¬ manufacture of objets d’arf, their popularity made her
turns around in his chair to look out at the viewer ological pictures, and for her portraits. In the 1770s she name famous.
is touching and intimate; he was more often shown in was commissioned to do murals for houses built by
a highly dramatic pose, as if he were standing on stage. the designer Robert Adam and his brother, whose soft
Bom in Switzerland, Kauffmann began painting colours and Antique style were well suited to her work. ► Gainsborough, Poussin, Rosa, Vigee-Lebrun

Angelica Kauffmann. b Chur, 1741. d Rome, 1807. David Garrick. 1764. Oil oh canvas. h84 x w69 cm. h33 x w27'/s in. Burghley House, Stamford
 Kawara On 21 OCT. 68

On Kawara made art out of time, history and memory. conventions of the country in which it was painted; abstraction and as a personal history, seen in the

His magnum opus is the Today series, also called the clipping came from a local newspaper. Some days occasional subtitles he gave to the paintings: ‘USA

Date Paintings, comprising a simple painting of a date, more than one painting was made, and on many bombs Vietnam again’, ‘a friend came to the studio’.

housed in a cardboard box lined with a newspaper days none; if the work was incomplete at midnight, The dates, too, created within a rigid standardization,

clipping from the same day. Beginning with Jan. 4, it was destroyed. Kawara’s recording of coundess nevertheless reveal the process of their making in

1966, each painting was executed in white paint on a dates from over a hundred cities is a form of artistic slight imperfections.
dark background, using the language and grammatical meditation. Time is experienced both as a lived ► Becher, Calle, Gonzalez-Torres, Kelley, Wool

21 OCT. 68

288

On Kawara b Kariya, Aichi, 1933. 21 OCT. 68. d New York, NY, 2014. 1968. Liquitex on canvas, cardboard box, newspaper. h20.5 * w25.5 cm. h8 * wlO in. Private collection
Kelley m*. Craft Morphology Flow Chart

A group of found, stuffed fabric dolls is arranged sculpture, performances and installations, Kelley’s his own preconceptions. Though Kelley’s questioning
with taxonomic precision, based on size and type; conceptual works expose the grimy underside of of cultural norms would continue until his death,
photographs in black and white exhibit individual dolls society and private life, questioning the conventions this piece marks his abandonment of craft objects
alongside a ruler, in the way of archaeological finds. that surround religion, family, sexuality, and the in his work, following the refusal of critics to see his
Kelley thus imposes an analytic order on once-loved, modern cult of victimhood. His irreverent ‘punk’ art found toys as anything but evidence of the artist’s
now discarded, childhood objects. Mixing tasteless is raunchy, uncomfortable and sometimes deliberately infantile recidivism.
pop culture with philosophical themes in paintings, humiliating in its attempts to make the viewer examine ► Boldessari, Duchamp, Hirst, Koons, Ray

Mike Kelley, b Detroit Ml, 1954. d Los Angeles, CA, 2012. Craft Morphology Flow Chart. 1991.32 tables, 114 dolls, 60 photographs, one drawing. Dimensions variable. As installed at the Carnegie Museum of Art, Pittsburgh, PA
 Ellsworth Red Blue Green Yellow

Paint has been applied, without any evidence of two flat surfaces, this work reflects the theories of extremely varied: he introduced broadly curving
the artist’s hand, in flat areas of defined pure colour. the Post-Painterly Abstractionist movement of the edges to his paintings and sculptures, and sometimes
A yellow panel has been placed on the floor at right- 1960s. It is one of a group known as ‘Specific Objects’, eliminated colour altogether in favour of black, white
angles to the main painting, as if to sever any hovering between painting, relief and sculpture, and and grey.
connection it might have with the ground, and attacks preconceived ideas of the differences between
suggesting a three-dimensional quality. In its emphasis sculpture and painting. Kelly studied in Boston and
on pure colour, use of space and incorporation of at the Academie des Beaux-Arts in Paris. His work was ► Albers, Louis, Newman, Ryman, Stella

290

Ellsworth Kelly, b Newburgh, NY, 1923. d Spencertown, NY, 2015. Red Blue Green Yellow. 1965. Oil on canvas (bottom panel mounted on masonite). h222.2 * wl37.1 * d222.2 cm. h87'/2 * w56 * d87in. Margo Leavin Gallery, Los Angeles, CA
Kertesz Andre Mondrian's Pipe and Glasses

Two pairs of glasses and a pipe, resting in a bowl, formal qualities, they have a rich associative value when associated with many of the more progressive artists
have been placed on the corner of a table. The simple it is realized that they belonged to one of the period’s living in the city, including Fernand Leger and the
impact of these objects, along with their elegant greatest abstract painters, Piet Mondrian. Taken in Dada poet Tristan Tzara. The current work was
arrangement, is illustrative of Kertesz’s pioneering Mondrian’s Paris studio, the image evokes the purity included in Kertesz’s first solo exhibition held at the
approach to photographic composition during the first and clarity of vision that informed the Dutch artist’s avant-garde Au Sacre du Printemps Gallery.
half of the twentieth century. Although on the surface iconic paintings. Kertesz had emigrated from his native
the objects appear to have been chosen for their Hungary to the French capital in 1925, becoming ► Cartier-Bresson, Leger, Mondrian, W Nicholson, Weston

Andre Kertesz. b Budapest, 1894. d New York, NY, 1985. Mondrian's Pipe and Glasses. 1926. Gelatin silver print, h8 * w9cm. h3V4 x w3V4 in. Medialhequede ('Architecture etdu Patrimoine, Paris
 Kiefer Anselm Song of the Wayland

This monumental and awe-inspiring image of burned this evil parable with the destruction so powerfully artist’s reaction to an experience, rather than the facts
and ploughed fields under a raised horizon involved portrayed in the scorched landscape conjures up of the experience itself). Kiefer’s varied work includes
the use of a wide range of materials. The tide refers to haunting memories, including the Holocaust. The large black-and-white woodcuts in bold outlines, and
the myth of Wayland, the master blacksmith. Crippled theme of German culture, distorted during the “books’ made from photographs or woodcuts.
by his king to prevent him leaving, Wayland raped Third Reich by Nazi doctrine, is central to his work.
the king’s daughter and killed his two sons, then forged This painting could be seen as Neo-Expressionist
himself wings for his escape. Kiefer’s association of in context (the revival of a style that emphasized the ► Baselitz, Beckmann, Boltanski, Hofmann, Kitaj

292

Anselm Kiefer b Donaueschingen, 1945. Song of the Wayland. 1982. Oil, emulsion, straw, photograph and lead wing on canvas. h280 * w380cm. hi 1OV3 * w!49% in. Private collection
Kienholz Ed The Beanery

A group of mannequins sit around a bar, each of headline ‘Children Kill Children in Vietnam Riots’. less palpable aspects of twentieth-century society.
their faces replaced with a clock set at ten minutes past According to the artist it was the shocking contrast In 1981 he declared that all of his work produced after
ten. Infused with the sound of chattering customers between the escapism provided inside the Beanery and 1972 should be jointly attributed to himself and his
and the smell of food and beer, this large tableau is the horrific realities of events elsewhere that had first wife, Nancy Reddin Kienholz.
a reconstruction of Barney’s Beanery, a diner in West inspired him to produce the work. Kienholz began to
Hollywood famously frequented by actors, artists construct large-scale tableaux in the early 1960s. These
and musicians. Displayed on a newsstand outside is the were often uncompromising representations of the ► Gonzalez-Torres, Kabakov, Oldenburg, Segal

293

Ed Kienholz. b Fairfield, WA, 1927. d Hope, ID, 1994. The Beanery. 1965. Mixed medio. h213.3 » W182.9 x d670.5 cm. h84% * w72Vi * d264'/4 in. Stedelijk Museum, Amsterdam
 Kippenberger Martin The Happy End of Franz Kafka's 'Amerika'

An eclectic assortment of desks, tables and chairs published, novel Amerika', a book that the artist allude to the diverse range of people who would

has been set out in a gallery to create a playful en¬ claimed he had never read. In Kafka’s story the partake in the interview process. Kippenberger was

vironment for conducting interviews. Alongside protagonist, Karl Rossman, applies for a job at one of the most prolific and respected German artists
conventional office furniture, the artist has included the Nature Theatre of Oklahoma — an organization of his generation. Spanning a wide range of media,
beach chairs and raised lifeguard platforms. The large that promises to find work for everyone. It is the he avoided signs of stylistic consistency in his work.
installation proposes a setting for a happy conclusion utopian idea of total employment that underlies
to Franz Kafka’s unfinished, and posthumously Kippenberger’s work. The different styles of furniture ► Demand, Kabakov, Kienholz, G Orozco

294

Martin Kippenberger b Dortmund, 1953. d Vienna, 1997. The Happy End of Franz Kafka's 'Amerika'. 1994. As installed at the Museum Boymans-van Beuningen, Rotterdam
Kirchner Ernst Ludwig Self-portrait with Model

Rough brushstrokes and vitriolic colours which clash Kirchner was part of a group of Expressionists who From 1917 Kirchner lived in Switzerland on health
violently contribute to a feeling of desperate energy. called themselves ‘Die Briicke’, or the bridge, implying grounds as he was suffering from tuberculosis. In 1937,
The painting appears almost too small to contain that they connected the art of the past with that of the many of his works were confiscated by the Nazis
the scene, suggesting a sense of expansion as if the future. There was some rivalry between himself and as ‘degenerate’; he committed suicide a year later.
colours were straining at the edges. This painting is Erich Heckel, another member of the group: Kirchner
characteristic of the sensual, vibrant colour, dramatic would sometimes date his works too early, trying
intensity and angular outlines of Expressionism. to prove that he was more innovative than the others. ► Van Gogh, Heckel, Kandinsky, Munch, Velazquez

295

Ernst Ludwig Kirchner. b Aschaffenburg, 1880. d Davos, 1938. Self-portrait with Model. cl910. Oil on canvas. hl49.9 * wl00.3 cm. h59 * W39J& in. Kunsthalle, Hamburg
Kitaj rb If Not, Not

The Gatehouse at Auschwitz dominates the scarred literary and artistic references, including T S Eliot’s often felt were never finished, create a vision of
landscape, scattered with figures and fragments. poem The Waste Land. In these strong references to a world that is cruel, in which only Nature herself
The theme is clearly the genocide of the European visual culture and literature, Kitaj is interpreting the is spared. He lived and worked mostly in England.
Jews. Figures in the foreground contrast with the British Pop art movement. A painter of sharp intellect
dream-like scenery, and include Kitaj’s self-portrait as and literary allusion, he often portrayed panoramas
the grey man with the hearing-aid. This complex and of suffering people, in landscapes that are harsh and
seductive painting draws together a wide range of uncompromising. These heartfelt paintings, which he ► Boyd, Burra, Hamilton, Kiefer, Lewis, Nash, Nolan

R B (Ronald Brooks) Kitaj b Cleveland, OH, 1932. d Los Angeles, CA, 2007. If Not, Not. 1975-6. Oil on canvas, hi52.4 * wl52.4 cm. h60 x w60 in. Scottish National Gallery of Modern Art, Edinburgh
Klee Paul Senecio

This adaptation of the human face is divided by colour principles of art, in which the graphic elements of the Nazis exiled him from Germany, when over one
into rectangles. Flat geometric squares are held within line, colour planes and space are set in motion by hundred of his works were removed from German
a circle representing a masked face and displaying the an energy from the artist’s mind. In his imaginative galleries as ‘degenerate’.
multi-coloured costume of a harlequin. A portrait of doodlings, he liked, in his own words, to ‘take a line
the artist-performer Senecio, it can be seen as a symbol for a walk’. From 1921 to 1931 he was a brilliant
of the shifting relationship between art, illusion and teacher at the Bauhaus school of design, publishing
the world of drama. This painting demonstrates Klee’s many writings on his theory of art. Two years later, ► Albers, Braque, Delaunay, Dine, Feininger, Picasso

297

:!. h40.5 * w38 cm. h 15 7/e x w!5 in. Kunstmuseum, Basel

Paul Klee, b Munchenbuchsee, 1879. d Muralto-locarno, 1940. Senecio. 1922. Gil on canvas mounted on panel
 Klein Yves I KB 79

IKB stands for International Klein Blue, a paint which to invade the viewer’s sensibility and exert a strong which female models were smeared with the famous
Klein mixed personally and then patented. Its brilliant meditative influence. Klein is considered to be one blue paint and dragged across the canvas under
colour is maintained by the addition of synthetic resin of the most important post-war international artists Klein’s direction, to the accompaniment of his own
to the blue pigment. Most of Klein’s paintings are blue, and was a leader of the European Neo-Dada symphony. Tragically, he died of a heart attack at
as blue was an important colour to him, conveying a movement, a style intended to shock and outrage. His the age of only thirty-four.
sensation of spirituality and freedom which is peculiar work includes paintings that were deliberately burned,
to his work. The power of the painting lies in its ability and the extraordinary ‘Anthropometries’ series, for ► Christo, Fontana, Heron, Rothko

298

Yves Klein, b Nice, 1928. d Paris, 1962. IKB 79. c!959. Pigment and synthetic resin on canvas, h 139.7 * wl 19.7cm. h55 * w47’/8 in. Tate, London
 Gustav The Kiss

In a mass of patterns and shapes, the form of a is also luxurious and decadent. Essentially a decorator, Although he was most successful as a designer for
kissing couple emerges from a field of flowers. Gold Klimt was a leader of the Vienna Secession, a group the applied arts (such as mosaic), his murals for Vienna
predominates the colour scheme, punctuated by the of artists and craftsmen who revolted against the University were unpopular and widely considered
bright colours of the flowers and the rich decorative conservative and moralizing works of the previous pornographic.
designs on the clothing. The eroticism of the image generation. Their new style is often called Art Nouveau.
is conveyed through sensuous line, bold pattern He produced a number of portraits, mainly of women,
and luscious colours which create a dream world that and some large allegorical and mythical paintings. ► Burne-Jones, Moreau, Mucha, Schiele

299

Gustav Klimt, b Vienna, 1862. d Vienna, 1918. The Kiss. 1907/8. Oil on canvas. h!80 * wl 80 an. h70Vs * w70% in. Osterreichische Galerie, Vienna
 I n© Franz Untitled

A total of five black, wide brushtrokes float on a thickly between solid space represented by the dark paint, and and grey but by 19; 9 he began incorporating vivid colour
painted and richly textured white background, evoking vast, open space, represented by the white. Its connection into his paintings.
sensations of vast spaces. Kline was inspired by the tech¬ to the American Abstract Expressionist movement (of
niques of graphic illustration, and by the massive sections which Kline was a leading representative) is demonstrated
of partly constructed or demolished girders, railways, by the spontaneous gestures of the energetic yet simple
scaffolding and bridges of New York. The power of brushstrokes. Kline was influenced by oriental calligraphy
the painting lies in this expression of the violent tension and normally limited his colour schemes to black, white ► Hartung, De Kooning, O'Keeffe, Pollock, Still, Tobey

300

Franz Kline, b Wilkes-Barre, PA, 1910. d New York, NY, 1962. Untitled. 1951. Oil on canvas, hi 98.2 * wl 82.9 cm. h78 x w72 in. Private collection
Kneller Sir Godfrey John, First Duke of Marlborough

Everything about this portrait is luxurious: the gold the pose and garments seen here. Elis practice was as this one. He painted ten reigning monarchs
braid, white silk, plush blue velvet, fluffy white feathers to paint the figure and the background first, then fill including every English sovereign from Charles II to
and curly wig all contribute to the magnificence of in the face when he was able to study the sitter in George II, and was massively conceited, believing
the sitter. He may be identified as a holder of the the flesh. On his arrival in London, Kneller quickly that the world would have been a better place had God
Order of the Garter by his gold chain, the blue band became a leading portrait painter. He established a consulted him at the Creation.
around his calf and the embroidery on his robe. workshop with a large team of specialized assistants,
Kneller’s portraits of British nobility often repeated which enabled the mass-production of portraits such ► Dobson, Van Dyck, Hilliard, Lely, Moroni

i. h218.4 x wl 32 cm. h86 * w52 in. Blenheim Palace, Woodstock

Sir Godfrey Kneller b LObeck, cl646. d London, 1723. John, First Duke of Marlborough. cl705. Oil on canvas.
 Kokoschka Oskar Portrait of a 'Degenerate Artist

All the contours and peculiarities of the artist’s face are together the jarring colours into a structured whole. energy, were politically symbolic. The tense situation
outlined in a multitude of colour tones to suggest his Kokoschka’s exaggeration and distortion of colour in Germany forced him to leave Austria in 1934
anxiety and anger. This self-portrait shows Kokoschka to convey deep emotions make this painting a prime for London, where he lived until finally settling in
as a self-proclaimed ‘degenerate artist’ whose innova¬ example of Expressionism, a movement to which Switzerland in 1953.
tive art was suppressed by the Nazis during the war. he was deeply committed. He taught at the Dresden
The violent brushwork appears both spontaneous Academy of Art, and also wrote Expressionist drama.
and untidy, but behind it there is control, bringing Many of his works, with their vivid colour and resdess ► Beckmann, Durer, Ensor, Munch, Nolde, Soutine

302

Oskar Kokoschka, b Pochlarn, 1886 d Montreux, 1980, Portrait of a 'Degenerate Artist'. 1937. Oil on canvas, hi 10 * w85 cm. h43'U x w33>/2 in. Scottish National Gallery of Modern Art, Edinburgh
De Kooning Willem Marilyn Monroe

The exhibitionist and slightly dizzy quality of the is often viewed more as an object than as a whole members of this group, however, De Kooning did
stunningly beautiful Hollywood star is captured here. person, and he portrayed her almost as a shop-window not restrict himself to pure abstraction: his overriding
Paint has been applied in swift forceful gestures to dummy, with no trace of eroticism. De Kooning was subject had been the human (particularly female)
build up the image layer by layer. This painting, involved with the New York-based Abstract figure. His artistic career encompassed many phases
from a series entided ‘Women’, belongs to one of Expressionists, who stressed the importance of and in the 1970s he had turned to figurative sculpture.
De Kooning’s non-abstract, or figurative, phases. He spontaneity and of ‘gestural’ painting where colour
recognized that, like all female sex-symbols, Monroe is splashed or dribbled onto the canvas. Unlike many ► Appel, Baselitz, Frankenthaler, Guston, Warhol

303

Willem de Kooning, b Rotterdam, 1904. d East Hampton, NY, 1997. Marilyn Monroe. 1954. Oil on canvas, hi 27 * w76.2 cm. h50 * w30 in. Private collection
 Koons Jeff Puppy

Evocative of the softness and cuddliness of a small works are monuments of glitzy kitsch, or bad taste, be a vacuum cleaner or a basketball. When he cannot
puppy, a huge sculpture stands like a war memorial in our age of throwaway culture, and the more shiny achieve the effect he wants, he may even have a new
in the forecourt of an eighteenth-century building. they appear, the more they appeal to his magpie material specially made for a piece, sometimes at
It consists entirely of living plants, whose exuberant eye. At one time Koons was a commodities trader, enormous expense.
flowers provide colour, while their withering away, and he likes to include consumer goods of one sort
which will lead to the work’s self-destruction, is or another in his sculptures. Floating in the centre
a metaphor for the impermanence of life. Koons’s of an aquarium or entombed in a slab of Plexiglas may ► Dine, Duchamp, Lichtenstein, Sherman

Jeff Koons b York, PA, 1955. Puppy. 1992. Flowering plants, steel, wood and earth, hi 1.5 m. h38 ft. Originally at Schloss Arolsen, Germany; now at Museo Guggenheim, Bilbao
Kossoff Leon Christchurch No. 1

This imposing church in London’s Spitalfields East End of London, there is nothing English about and power. Working from charcoal drawings, Kossoff
dominates the scene in muted colours, thickly applied. his work. In fact he is more often associated with seeks out the universal quality in his subjects, while
Large brushfuls of paint, dragged or dripped onto the the Neo-Expressionists working in continental Europe. never becoming sentimental or overdramatic.
board, form a sort of churned-up, mud-like morass. His pictures — usually portraits of family or friends and
The image of ordinary people in everyday life is local scenes — always have great personal significance
unpretentious and deliberately avoids the picturesque. for him, and it is the vividness of his memory of this
Although Kossoff was born and brought up in the area of London which gives the painting such vitality ► Auerbach, Bomberg, Freud, Van Gogh, Lowry, Rembrandt

305

Leon Kossoff b London, 1926. Christchurch No. 1 1991. Oil on board, hi46.7 x wl00.4 cm. h5734 * w39'/s in. Anthony d'Offay Gallery, London
 Kroyer Peder Severn Summer Evening on the Southern Beach

Immersed in their own private world, two elegandy simple subjects which took on fresh, pastel tones Italian workmen, which were noted for their moving
dressed women walk on a deserted beach. The cool under the Arctic sun, and avoiding strong colours pathos. He later became the leader of a seaside colony
blue tones of the sea and sky, merging together on and deep shadows. Born in Norway, Kroyer was of artists at Skagen in Denmark, and his works became
the horizon, and the almost grey sand, create an particularly interested in the effects of light at different more cheerful. His last years, however, were dogged by
atmosphere of clarity and tranquillity. Scandinavian times of day, and how lamplight is affected by daylight. mental illness.
painters put a great deal of effort into capturing Initially influenced by the Spanish painter Diego
the effects of the clear northern light, often choosing Velazquez, he painted realistic scenes of Spanish and ► Boudin, Hammershoi, Spilliaert, Velazquez, Zorn

306

Peder Severn Kroyer b Stavanger, 1851. d Skagen, 1909. Summer Evening on the Southern Beach. 1893. Oil on canvas. hlOO * wl50 cm. h39’/2 * w55 in. Skagens Museum, Skagen
Krug er Barbarra Untitled (Your Body is a Battleground)

A black-and-white image of a woman stares out at as a graphic designer for magazines aimed at female forces for which the prize is control of the female
the viewer. Her face is split in half, one side positive, readers, Kruger established a bold signature style — body. It was produced by the artist to signal her
the other negative. Printed in bold type across the the works were always printed in red, white and support of a protest march for women’s rights that
image is the statement “Your Body is a Battleground’. black - through which she questioned the mechanisms took place in Washington in 1989.
During the 1980s Kruger produced a series of works of consumerism and gender politics. The polarized
in which provocative texts were juxtaposed with found face of the model in the current work, when set
images. Informed by her own experiences working against the text, implies a battle between opposing ► Calle, Holzer, Lichtenstein, Rist, Wool

307

Barbara Kruger, b Newark, NJ, 1945. Untitled (Your Body is a Battleground). 1989. Photographic silkscreen on vinyl. h284.5 x w284.5 cm. hi 12 x wll2 in. Broad Art Foundation, Santo Monica, CA
 Kupka Frantisek Cathedral

Composed of a geometrical series of pure and the light, sounds and impressions of the cathedral as pioneers of a new style of pure abstraction, derived
dappled colours, arranged vertically and diagonally, they affected his imagination. Born in Czechoslovakia, from Cubism but more ‘pure’, which they called
this painting has an almost mesmeric quality. The he trained in Prague and Vienna before working as Orphism. Behind it was the idea that artists would
rather dark tones seem to shimmer, and the broken an illustrator in Paris where he pursued his interest paint new structures made of elements which they
colours appear constantly to merge and divide from in theosophy (a study of religion or philosophy based had created from their imaginations, and made real.
each other. Kupka went beyond simply painting what on an intuitive idea of God) and practised as a spiritu¬
the cathedral looked like, and tried instead to convey alist medium. He and Wassily Kandinsky became ► Delaunay, Gris, Kandinsky, Mondrian, Pollock

308

Frantisek Kupka b Opoczno, 1871. d Puteaux, 1957. Cathedral. 1913. Oil on canvas, hi80 * wl50 cm. h70 7/s * w59 in. Private collection
Kusama Yayoi Peep Show/Endless Love Show

Installed as part of the exhibition ‘Kusama’s Peep repetitive immersion and unbound space that have the early 1970s) to create works — paintings, sculptures,
Show/Endless Love Show’, this hexagonal space was continued to characterize Kusama’s art for over installations, performances — of cosmic infinity and
lined with mirrors, while the floor was crowded with fifty years. From her early years in New York, where obsessive excess. It has been suggested that rather than
pulsing red, blue, white and green lights. Two small the now internationally renowned artist was part searching for meaning in her art, we should seek to
windows permitted viewers to peer inside. The of the 1960s anti-art establishment, she has traded discover the mental processes and ways of seeing that
installation exhibits the signature polka dots (in the on her own neuroses and mental fragility (she has been each work offers.
form of round lightbulbs) and the sense of infinite. a voluntary patient in a mental hospital in Japan since ► Eliasson, Graham, Gursky, Riley, Vasarely

Yayoi Kusama. b Matsumoto, 1929. Peep Show/Endless Love Show. 1966. Hexagonal mirrored room, electric lights. Dimensions variable. As installed at the Castellane Gallery, New York, NY
 Lam Wifredo The Jungle

Gathered at the edge of a jungle, into which their long, his best-known work, Lam brings together many who encouraged artists to follow the irrational
slender limbs seem to merge, is a group of strange elements — Latin-American, African and Oceanic — promptings of their unconscious minds, producing
creatures straight out of Lam’s imagination. The fusing them with the conventions of the European dream-like and disturbing images. Both Lam and
mystery of the jungle is reflected in these extraordinary Modern Movement. He often made use of voodoo, his friend Pablo Picasso were influenced by African
beasts which inhabit its unfathomable depths; greenish folklore, totems, and jungle scenes - providing a and Oceanic sculpture.
animals with vague, un-animal-like shapes and tribal brooding sense of forbidden fruits. Of Cuban origin,
heads, conjured up from hallucinatory dreams. In this, at one time he was involved with the Surrealists, ► Bellmer, Brauner, Ernst, Giacometti, Matta, Picasso

310

Wifredo Lam b Sagua la Grande, 1902. d Paris, 1982. The Jungle. 1943. Gouache on paper mounted on canvas. h239 x w230 cm. h94Vi x w90'/z in. Museum of Modern Art, New York, NY
Lancret Nicolas A Lady in a Garden taking Coffee with some Children

Elegantly dressed figures sipping coffee from porcelain an affectionate eye. The composition has been made He was famous for his portrayal of fairs, balls and
cups in a landscaped garden suggest a typically French more interesting by placing the figures to one side of village weddings in the style of his popular
setting. Although this is a refined, formal scene, it the canvas, rather than in the centre. Lancret excelled contemporary, Antoine Watteau.
also shows an intimate family group. The youngest at these pastoral evocations of aristocratic life, before
daughter has abandoned her doll in favour of a taste the Revolution swept it away forever. Failing as a
of the hot coffee which is tenderly offered by her history painter, he spent the rest of his days painting
mother, while the father watches over them all with fetes galantes, pictures of figures in pastoral settings. ► Boucher, Fragonard, Liotard, Prud'hon, Watteau

Nicolas Lancret. b Paris, 1690. d Paris, 1743. A Lady in a Garden taking Coffee with some Children. c!742. Oil on canvas. h88.9 * w97.8 cm, h35 * w38'/s in. National Gallery, London
Landseer Sir Edwin Wild Cattle at Chillingham

As if showing their proud defiance in the face of with the semblance of human emotions. Inspired by Victoria’s favourite artist, his most famous works are
adversity, the cows dominate this composition. In fact the images of the Romantic novelist Sir Walter Scott, the bronze lions in Trafalgar Square. Despite his
they have been disturbed by the presence of a frog. he travelled to Britain’s remote places and painted sentimentality, there is some evidence of a gratuitous
Destined for the Earl of Tankerviile at Chillingham animals and landscapes which he knew might one day cruelty which may have contributed to his mental
Castle, Northumberland, this fine painting demon¬ be threatened. His father was an engraver who taught breakdown. He died insane.
strates the qualities which made Landseer so popular: him to sketch animals from life and he was only twelve
he appealed to Victorian taste by endowing animals when he first exhibited at the Royal Academy. Queen ► Agasse, Cuyp, Marc, Stubbs

Sir Edwin Landseer b London, 1802 d London, 1873. Wild Cattle at Chillingham. 1867. Oil on canvas. h228 * wl56cm. h893A x w61’/2 in. Laing Art Gallery, Newcastle upon Tyne
Lanyon Peter Fly Away

The white mass, large yellow triangle, red bands and right becomes the sea, the single white brushstroke of his life. He is acknowledged as an artist who
bold fluent brushstrokes of Fly Away form an and thin line of yellow become the quays of a harbour, reinvented the British landscape in the 1950s. Lanyon’s
apparently abstract composition. Lanyon embraced and the red and yellow shapes assume the forms career was unfortunately cut short by a fatal gliding
this heavily painted expressionistic style in the 1950s. of elements of an aircraft floating in the atmosphere. accident in 1964 at the age of forty-six.
In 1959 he took up glider flying and was able to Born in the English artists’ colony of St Ives, Cornwall,
obtain a totally new vision of the Cornish landscape. Lanyon lived and worked there with associates Naum
With this in mind, the blue-black rectangle on the Gabo, Patrick Heron and Ben Nicholson for most ► Frankenthaler, Gabo, Heron, De Kooning, B Nicholson

Peter Lanyon. b Stives, 1918. d Taunton, 1964. Fly Away. 1961. Oil on canvas.i. hi22 x wl83 cm. h48 x w72 in. Gimpel Fils Gallery, London
 Georges de The Cheat with the Ace of Diamonds

The card players’ shifty eyes suggest that not one of in the figures — for example in the oval face of browns, and their luminous quality is reminiscent
them is honest. Only one cheat, however, obviously the seated woman — that harks back to painters of the of the works of Caravaggio. One of his paintings was
withholds two cards behind his back. The bright light, early Italian Renaissance such as Piero della Francesca. accepted as a gift by the King of France, who liked
casting deep shadows, heightens the warm colours Many artists at this time travelled extensively, but it so much that he had all the works by other painters
of their clothes. By contrast, the background is in total La Tour spent his entire life in the French province removed from his chambers.
darkness, intensifying the areas of light. Although this of Lorraine. He specialized in candlelit scenes,
is a Baroque painting, there is a geometric simplicity achieving eerie effects with warm, glowing reds and ► Caravaggio, Honthorst, Lucas, Piero della Francesca

314

Georges de Lo Tour, b Vic-sur-Seille, 1593, d Luneville, 1652. The Cheat with the Ace of Diamonds, cl647. Oil on canvas. hl06* w!46cm. h41’/2 * w57'/! in. Musee du Louvre, Paris
Laurencin Marie The Dancers

Five beautiful dancers in diaphanous costumes of the 1920s in their lighthearted and decorative tone. a social circle which included Pablo Picasso,
practise their movements in this enchanting scene. She resisted the pressure of contemporary movements Georges Braque, Henri Matisse, Juan Gris and Robert
The seductive pastel shades in which they are painted in art and retained her own individual style, demon¬ Delaunay and she held many artistic discussions in
are typical of Laurencin’s work, magnifying their strated here in a straightforward portrayal of the her Paris apartment.
almost ethereal quality. Her paintings convey her dancers without any extraneous ‘message’. Besides
curious vision of a world peopled entirely by beautiful painting, she also illustrated books with watercolours.
young girls, and perfectly embody the artistic mood Laurencin had the advantage of being included in ► Degas, Dufy, Foujita, Toulouse-Lautrec, Utrillo

h53.3 * w64.1 cm. h21 * w25'/iin. Private collection

Marie Laurencin, b Paris, 1883. d Paris, 1956. The Dancers. 1937. Oil on canvas.
 Lawrence Sir Thomas The Duke of Wellington

Although the inscription on this work states that this Gros, Lawrence wanted to achieve a romantic vision by George IV to paint all the major figures in the
is how the Duke appeared at the batde of Waterloo, of a great leader — and furthermore, a victorious one. struggle against Napoleon. His best work has great
it is most unlikely that Wellington could have sustained The son of an innkeeper, he was famed for his force; his worst was probably dashed off to pay debts:
such a staged pose with a fierce batde raging around portraits at the age of ten, painting Queen Charlotte he had a huge income but was in constant difficulty.
him. Lawrence’s approach is more staid and less at the age of only twenty and being appointed royal
realistic than that of Antoine-Jean Gros in the wind¬ painter on the death of Sir Joshua Reynolds. With a
swept portrait of his opponent, Napoleon, but like reputation extending to Europe, he was commissioned ► Clouet, Van Dyck, Gericault, Gros, Marini

Sir Thomas Lawrence, b Bristol, 1769. d London, 1830. The Duke of Wellington. 1818. Oil on canvas. h396.2 * w243.8cm. hl56* w96 in. The Bathurst Collection, Sapperlon
Le Gray Gustave Brig on the Water

A theatrical light is cast across the surface of the sea, Paris Salon, Le Gray’s beautifully crafted composition a combination technique that employed the incor¬
the dark clouds above adding to the dramatic atmo¬ owes obvious debts to the seascape tradition in poration of two separate negatives. Brig on the Water
sphere. In the centre of the composition, just below European painting. Making his first daguerreotypes was his first exhibited seascape and sold over 800
the horizon, sits a brig, dwarfed by the expanse of in 1847, Le Gray was an important teacher and early prints during the first two months that it was available
water. Whilst this was a type of sailing vessel known technical innovator of photographic processes. At for sale.
for its speed and agility, in this photograph it appears a time when it was not possible to capture sky and
perfectly still. A trained artist, who exhibited at the sea with clarity in a single image, Le Gray developed ► Adams, Church, Grimshaw, Steichen, Turner

cm. h 12V2 x w!6’/4 in. Victoria and Albert Museum, London

Gustave Le Gray, b Villiers-le-Bel, 1820. d Cairo, 1884. Brig on the Water. 1856. Albumen print from a collodion-on-glass negative. h32 * w41
 Leger Fernand The Builders

The massive scale of the building is cleverly conveyed colour with the ironwork skeleton. Trained in an the Swedish Ballet and even film — he made the first
by cutting off the image at the top and bottom, so that architect’s office, Leger was fascinated by industrial ‘abstract’ film, using objects as ‘actors’. Among his last
it appears to stretch away endlessly in both directions. technology, and by the dynamic shapes of machinery works were huge decorative murals for the UN
Strong horizontals and verticals etch its outline against and construction work. There is evidence in this building in New York.
the sky in intense primary colours. The massive robot- painting of the Cubist movement in its harsh, angular
like workers, scrambling about on the girders, and lines and its focus on machinery. Leger worked in
the passing clouds contrast dramatically in shape and many areas: ceramics, stained glass, stage designs for ► Boccioni, Brown, Delaunay, Gris, Picasso

318

Fernand Leger b Argenton, 1881. d Gil-sur-Yvette, 1955. The Builders. 1950. Oil on canvas. h299.8 * w200cm. hi 18 * w78% in. Musee National Fernand Leger, Biot
Leighton Frederic, Lord The Bath of Psyche

A sensuous, porcelain-skinned goddess gazes at her Lord Leighton, who studied art in Europe, was a became hugely popular through mass-produced
reflection as she prepares for her bath. The soft leader of Classicism in Britain, his style and choice reproductions, and he was also an excellent sculptor.
yellows, whites and flesh tones create a sense of calm of subject being profoundly influenced by the statues Lord Leighton was later elected President of London’s
while her elongated body is accentuated by the Ionic and mythology of Antiquity, which was in direct Royal Academy.
column behind her and the tall, thin shape of the opposition to the Medievalism of the Pre-Raphaelites.
canvas. The brushstrokes, invisible to the eye, are as He had an immediate success when his first picture
smooth and polished as the still surface of the water. was purchased by Queen Victoria. His paintings ► Alma-Tadema, Burne-Jones, Cranach, Ingres, Rossetti

319

lord Frederic Leighton, b Scarborough, 1830. d London, 1896. The Bath of Psyche. 1890. Oil on canvas, hi 89.2 * w62.2 cm. h/2'/4 * w24H in. Tote, London
 Sir Peter Charles I with James, Duke of York

Glancing nervously at his father’s face, a son hands visits to the King were allowed, this is an important London and had painted the King as well as the royal
him a letter opener. The lack of intimacy between record of one such meeting. The subde tones and children. A flood of portraits followed which made
them may reflect the real relationship between father rich modelling are hallmarks of Lely’s style. The him one of the most influential portrait painters of the
and son, as Charles I was a prisoner at Hampton Court choice of Lely for this commission demonstrates seventeenth century.
when this portrait was painted. James, along with his his increased status as portrait painter to royalty,
brothers and sisters, lived at Syon House under the succeeding Sir Anthony van Dyck. Ten years after he
guardianship of the Duke of Northumberland. As few became a Master in the Haarlem Guild, Lely was in ► Dobson, Van Dyck, Holbein, Kneller, Reynolds

Sir Peter Lely b Soest, Westphalen, 1618. d London, 1680. Charles I with James, Duke of York. 1647. Oil on canvas, hi26.4 x w!46.7cm. h4934 x w5734 in. Syon House, Isleworth
Leonardo da Vinci Mona Lisa

The Mona Usa is famous all over the world for her controversy in the quality of its execution. A traditional and scientific and aeronautic pursuits, Leonardo
enigmatic smile and for being one of the few paintings Renaissance portrait in composition, its beauty lies completed a remarkably small number of paintings
by the most esteemed of the Renaissance masters, in the oil painting technique (known as tfumato) created during his lifetime. Fortunately, numerous drawings
Leonardo da Vinci. The identity of the sitter remains by Leonardo, which allowed the artist to execute subtle, and sketchbooks have survived to reflect the diverse
unknown, and some debate still rages over whether atmospheric shading that was impossible to produce talents of this genius.
the figure is indeed a man or a woman, but the paint¬ with the egg-based tempera paint used by contem¬
ing, with its haunting landscape, rises above this porary artists. Equally adept in anatomy, engineering ► Diirer, Ghirlandaio, Massys, Ramsay, Sittow

Leonardo da Vinci, b Vinci, 1452. d Amboise, 1519, Mona Lisa. 1503/6. Oil on panel. h77* w53 cm. h30'A * w21 in. Musee du Louvre, Paris
Lewis Wyndham A Battery Shelled

The characteristically tortured landscape is painted as a war artist This, his major work of that period, of the Vorticist group established in London in
in harsh, angular outlines. Billowing smoke from the shows that he has toned down his pioneering abstract 1914 and editor of the Vorticist magazine BLAST.
shelled battery is shown as a series of segmented style in order to record the war, yet its brutality makes Tragically, illness left him blind for the last six years
towers, and bomb craters appear as rigid waves, while it clear that he thought war itself was absurd. Lewis, of his life.
the figures in the background are portrayed as mech¬ a novelist, art critic and superb portraitist, was during
anical robots. Lewis served on the Western Front his own time one of the most influential experi¬
during the First World War, first as bombardier, then mentalists of British art. He was self-proclaimed leader ► Bomberg, Braque, Friedrich, Nash, Picasso

Wyndham Lewis b At sea (off Nova Scotia), 1882. d London, 1957. A Battery Shelled. 1919. Oil on canvas, hi52.5 * w317.5 cm. h72 * wl25 in. Imperial War Museum, London
LeWitt soi Open Geometric Structure IV

This white, open-cube structure is based on math¬ geometric mathematical calculations and its impersonal of lines, are sold like patterns, with a ‘licence’ to draw
ematical guidelines. By showing projecting cubes which nature, with no fixed centre of interest. LeWitt worked them in. He then usually obliterated his own wall
are defined only by their edges, LeWitt exploited the for an architect before becoming an artist and made drawings once they had been exhibited.
contradiction between what we know to be there and Minimalist sculptures which he called ‘structures’. He
what we actually see, a characteristic that Jinks tliis had said that the idea behind a work is more important
work to Conceptual Art. The ideas of the Minimalist than the work itself, and the planning is more import¬
movement can be seen in the work’s rigid adherence to ant than the construction. His wall drawings, a series ► Andre, Buren, Flavin, Judd, Vasarely

323

Sol LeWitt. b Hartford, CT, 1928. d New York, NY, 2007. Open Geometric Structure IV. 1990. Painted wood. h98 * w438cm. h38 % * wl72’/i in. Lisson Gallery, London
 Leyster Judith Self-portrait

The artist, dressed in her best and leaning back here — whether this was a portrait or self-portrait the Dutch golden age. She was a member of the
casually, one arm propped on the arm of her chair, is is unknown. The reworking of this area with a fiddler painters’ guild, and was possibly a student of Frans
around nineteen or twenty years old. She looks directly may be a deliberate advertisement of her skills as a Hals. Her compositions, usually comprising few figures
at the viewer, smiling as if about to speak, holding the genre painter, a popular and marketable speciality and only minimal settings, dramatically lit, are intimate
tools of her trade. On the easel is a laughing fiddler, in the seventeenth century; others have suggested that and assured.
but infrared examination reveals that Leyster originally it personifies the joy of artistic creation. Leyster was
painted the head and shoulders of a young woman one of the very few professional female painters of ► Anguissola, Cahun, Hals, Rembrandt, Vigee-Lebrun

324

Judith Leyster b Haarlem, 1609. d Heemstede, 1660. Self-portrait. c1630. Oil on canvas. h74.4 x w65.3 cm. h29!A in * w2534 in. National Gallery of Art, Washington, DC
Lichtenstein Roy In the Car

Lichtenstein’s blown-up comic strip creates a powerful environment, often extracting images from their modern life were used as art forms in themselves,
impact with its bold primary colours and direct style. original context and parodying them. By magnifying Lichtenstein used popular imagery in his work. In 1993
The original cartoon is faithfully reproduced but on a and over-simplifying these images he was not a major retrospective exhibition of his work was held
large scale, imitating the coarse screen technique (Ben making a social comment on the content but trying at the Museum of Modern Art in New York.
Day dots) that is used for printing cheap comics and to make people more aware of the aesthetics of
newspapers. Lichtenstein used mass-produced imagery 1960s USA. A prime exponent of American Pop art,
and the materials and products of the industrial in which artefacts, mass media and products from ► Dine, Hamilton, Oldenburg, Rosenquist, Warhol

Roy Lichtenstein, b New York, NY, 1923. d New York, NY, 1997. In the Car. 1963. Magna on canvas, hi 72 * w203.5cm. h67% * w80'/s in. Scottish-National Gallery of Modern Art, Edinburgh
Limbourg Pol, Jean and Herman de January (from the Ires Riches Heures)

A fine example of miniature painting, this is a page fur hat and an elaborate blue and gold robe. Most of A Book of Hours was used during the Middle Ages
from one of the greatest manuscripts of Northern the paintings in this Book of Hours were executed by as a prayer book for private devotion. It recorded
European art. Illustrating January, identified by the three brothers who joined the Duke’s court in around the daily cycle of monastic services throughout the
stellar chart with the constellations of Capricorn and 1410 and who all died in the same year as their patron, year and this particularly sumptuous example devotes
Aquarius, the festive banquet depicted in the main before the manuscript was complete. Their work a single page to each month.
scene includes a portrait of the Due de Berry who is praised for its unprecedented attention to everyday
commissioned the manuscript. He is wearing a large detail and for its marvellous sense of narrative. ► Beauneveu, Del Cossa, Van Eyck, Fouquet

Pol, Jean and Herman de Limbourg. Active c!400 d place unknown, cl416. January (from the Tres Riches Heures). cl413. Illumination on vellum. h24 * w!5.2 cm. h93/s * w6 in. Musee Conde, Chantilly
 *

Jean-Etienne The Chocolate Pot

This charming portrayal of a maid carrying a tray with French Rococo contemporaries but without their formal expression of the maid. On his return to
a cup of chocolate is striking for its direct and simple artifice, and it looks forward to the figures of Jean Europe he continued to wear the Turkish dress and
approach to an informal subject. The cool clarity Auguste Dominique Ingres and Edouard Manet. beard he had adopted, enjoying the notoriety this gave
of the picture’s tones and the unbroken outline of the Liotard spent some years in Constantinople, where he him. In England, his portraits were successful, despite
figure emphasize the pattern formed by the maid’s was probably influenced by the tradition of Turkish their being described by Walpole as ‘too like to please’.
colourful clothes against the plain background. This miniature painting, whose characteristics can be
work has all the lightness and gaiety of Liotard’s seen here in the even lighting, clear tones and slightly ► Chardin, Fragonard, Greuze, Ingres, Manet, Watteau

327

Jean-Etienne Liotard. b Geneva, 1702. d Geneva, 1789. The Chocolate Pot. cl745. Pastel on parchment. h82 x w52cm. h32Vi * w20'/2 in. Staatliche Kunstsammlungen, Dresden
 Lipchitz Jacques Half-standing Figure

The strict, mathematical composition of this work, to reconstruct them in terms of space and formal some important commissions there. In 1946 Lipchitz

with its layers of solid stone and intervening spaces, qualities of composition. Born in Lithuania, and was commissioned to sculpt a Madonna for a modern

shows that the sculptor wanted to represent training initially as an engineer, Lipchitz developed a church in France.
architectural, geometric forms, while creating a lyrical, very individual abstract style, making what he called
harmonious whole. Lipchitz was one of the earliest ‘transparent sculptures’. His later work of figures and
sculptors to understand the principles of Cubism and animals in bronze was more dynamic and non-abstract.
to apply them to three dimensions, fragmenting forms From 1941 he lived mainly in the USA and executed ► Archipenko, Braque, Gaudier-Brzeska, Gris, Smith

328

Jacques Lipchitz b Druskieniki, 1891. d Capri, 1973. Half-standing Figure. 1915. Stone. h98 cm. h38V2 in. Tate, London
 Filippino Portrait of an Old Man

The plain blue background, unadorned pale tunic this portrait, which is painted in the graceful and that have made his name. Years spent in Rome allowed
and hat highlight the wrinkled face and gende eyes simple style that characterized Filippino’s work. Aged him to study Roman remains, which became so
of this old man, whose portrayal is striking because it twelve when his father, Fra Filippo Lippi, died, he set important to him that they would crop up repeatedly
is so direct and straightforward. He sits at an angle off alone for Florence and a year later was working in his paintings, whether they were appropriate to
and although not looking direcdy at the viewer most with Sandro Botticelli, a former pupil of his father. His the subject or not.
of his face can still be seen. The old man’s identity is first major commission was to complete a Florentine
unknown, yet much of his personality shines through fresco left unfinished by Masaccio, and it is his frescos ► Botticelli, Ghirlandaio, Filippo Lippi, Masaccio

329

Filippino Lippi, b Prato, 1457. d Florence, 1504. Portrait of an Old Man.cl485: Fresco. h47« w38cm. hl8V4 * wl5 in. Galleria degli Uffizi, Florence
 Lippi Fra Filippo The Coronation of the Virgin

An elaborate hierarchy defines the realms of the The viewer is drawn into the composition by means a nun (who became the model for many of his
angels, saints, clerics and donors who look on at this of the angel in the foreground and the bishop in the Madonnas) but although he was later released from
coronation. Lippi’s rotund figures and understanding green robe on the left who looks directly out from his vows in order to marry her, no wedding ever took
of space ensure that the figures are not crushed the painting. The cleric looking out on the far left place. Their son, Filippino, also became an important
together in an unrealistic manner. By employing the is a self-portrait of Lippi, who was sent as an orphan Renaissance artist.
rules of perspective and subtle lighting techniques, to a monastery at the age of eight to become a monk
the artist has depicted the crowd in a logical way. but found himself unsuited to the life. He eloped with ► Fra Angelico, Filippino Lippi, Lorenzo Monaco, Martini

330

Fra Filippo Lippi b Floience, c!406. d Spoleto, 1469. The Coronation of the Virgin. 1441/7. Tempera on panel. h200 x w287 cm.h783/i x W113 in. Galleria degli Uffizi, Florence
Lissitzky ei Composition

Revolving geometric objects painted in delicate colours an abstract art form invented by Kasimir Malevich lines, dramatic architectural qualities and an overall
appear to be floating in the air, thus creating a sense based on pure geometric figures. Lissitzky trained flatness, with no suggestion of depth. Lissitzky’s
of depth and an illusion of space. Some of the shapes first as an engineer, then as an architect. Marc Chagall creative versatility extended to designs for costumes,
are given three dimensions, and this suggestion of appointed him professor of architecture and graphic exhibitions, posters and books.
architectural forms was developed in Lissitzky’s later art at the art school in Vitebsk, where he came under
works. In its concentration of pure form and colour, the influence of Malevich. His series of ‘Prouns’ is
the drawing shows the influence of Suprematism, well-known — a number of abstract works of straight ► Chagall, Van Doesburg, Gabo, Malevich, Moholy-Nagy

El Lissitzky (Eleazer Lissitzky). b Pochinok, 1890. d Moscow, 1941. Composition, cl920. Gouache, ink and pencil on paper. h41 X w33 cm. hi6'/s » wl3 in. Private collection
Lochner Stefan The Virgin and Child in a Rose Arbour

Doll-like angels serenade the Virgin and offer fruit Lochner. This is the earliest known work by this this pretty and poetical painting, as do the images of
to the Christ Child while God the Father watches from lyrical painter, who has been described as the last of the Virgin that can be found in some contemporary
above. The arboured rose garden in which the Virgin the Gothic artists, and who was principal master at illuminated manuscripts.
sits is a traditional symbol of her purity. With its grace the Cologne school. The gentle modelling of his figures
and mysticism, its subtle technique, the sweetness was given the name ‘soft style’. Many images of the
of the Virgin’s face and the pure colours of the robes, Virgin and Child painted by other fifteenth-century
the work has a number of characteristics typical of German artists in the Rhine valley bear similarities to ► Botero, Campin, Van Eyck, Limbourg, Schongauer

Stefon Lochner. Active in Cologne, 1442. d Cologne, 1451. The Virgin and Child in a Rose Arbour c!440. Oil on panel. h50.5 * w40cm. h!9% » wl534 in. Wallraf-Richartz Museum, Cologne
Long Richard Cornwall Slate Line

This linear sculpture has been created out of pieces the idea of the walk, which has already taken place. seaweed, using basic shapes known to man for millions
of slate picked up on a walk through the Cornish Long has extended the definition of sculpture of years. Some of his sculptures are permanent, such
countryside. Each one has been chosen at random, to include a dimension of time; his sculptures are as a line of rocks laid high in the Himalayan wilderness;
but is carefully placed in a straight line which can a record of the artist’s journey through a landscape. the less permanent are exhibited in the form of photo¬
be moved to any place capable of accommodating This approach has taken him to all corners of the graphs or maps.
its massive size. This work can be considered as world. He marks his journey in different ways; he may
Conceptual as the installation of the line represents leave a simple sculpture of stones, brushwood or ► Andre, Buren, Christo, Heizerjudd

333

Richard Long, b Bristol, 1945. Cornwall Slate Line. 1990. Delabole slate. 12540 * w230 cm. 1999 * w87 in. Previously installed at Tate, London; now installed at Lismore Castle, Ireland
Longhi Pietro Exhibition of a Rhinoceros at Venice

Painted with a precise observation of detail born of Longhi’s small-scale pictures of middle-class Venetian imitated by others or repeated by pupils, and although
an almost scientific curiosity, a rhinoceros stands in an life were theatrical and witty, but never satirical (unlike, they show no great artistic genius, they form a valuable
enclosure, placidly munching hay, an exotic spectacle for example, those by William Hogarth in England). record of an eighteenth-century Venetian society, long
for a bemused audience dressed in costume for the One of the most charming of all Venetian eighteenth- past its peak and slipping into decadence.
Venetian carnival. This odd painting commemorates century painters, if somewhat innocent, Longhi
the rhinoceros which was toured around the European dispassionately recorded the everyday events that
capitals by its captor, and brought to Venice in 1751. captured his imagination. His many paintings were ► Agasse, Hicks, Hogarth, Teniers

Pietro Longhi. b Venice, 1702. d Venice, 1785. Exhibition of a Rhinoceros at Venice. c!751. Oil on canvas. h60 * w47cm. h23'/2 * wl8'/2in. National Gallery, London
Lorenzetti Ambrogio Allegory of Good Government

Dominating the composition from his magnificent inspired figure dressed in gauzy white robes and by adding a wealth of incidental detail, proved himself
throne sits the personification of Good Government. reclining on a suit of armour. Crowding round to be one of the most brilliant and original artists
He is dressed as a judge in black and white — the the platform are members of the Sienese community. of the fourteenth century. Together with his brother
colours of Siena. At his feet sit the twins Romulus and This fresco is part of a cycle painted on the walls of Pietro, Ambrogio was responsible for numerous civic
Remus, feeding greedily from a she-wolf — characters the council chamber in Siena’s town hall in order to and religious commissions in his native Siena.
from Roman mythology used to symbolize the city’s inspire responsible government. The imagery is highly
ancient origins. On the left is Peace, a Classically- complex but Lorenzetti rose to the challenge and. ► Duccio, Martini, Della Quercia, Raphael

335

Ambrogio Lorenzetti. Active in Siena, 1319. d Siena, cl348. Allegory of Good Government (detail], cl 338/40. Fresco. Palazzo Pubblico, Siena
 Lorenzo Monaco The Coronation of the Virgin

The construction of this painting is typical of each side, the frame is idled with individual saints. as a miniaturist but progressed to altarpieces, painting

early Renaissance altarpieces. The principal scene The way in which Lorenzo has crowded the saints this one for the high altar of Santa Maria degli Angeli

is surrounded by smaller paintings set into the frame. around the Virgin and Christ, and his use of a dazzling in Florence.
The sequence of small panels along the lower edge range of colours, place him in the transitional period
combine to form a ‘predella’ depicting the Nativity. between the late Gothic and early Renaissance periods.
Above are scenes from the life of a saint; the gables Lorenzo was a monk and took his vows in a monastery
show the Annunciation and Christ in Glory while on famous for its illumination of manuscripts. He began ► Duccio, Gaddi, Giotto, Filippo Lippi, Lorenzetti, Martini

336

Lorenzo Monaco b Siena, c!370 d Florence, c!424. The Coronation of the Virgin. 1414. Tempera on panel. h450 * w350 cm. h 1771/8 * w137% in. Galleria degli Uffizi, Florence
Lotto Lorenzo Portrait of a Woman inspired by Lucretia

The Latin inscription praising Lucretia’s exemplary painters such as Giovanni Bellini, but he was impres¬ subjects vividly to life, his career took him from his
life is clearly meant to associate the lady in this portrait sionable, reflecting a multitude of his contemporaries native Venice to many parts of northern Italy. A few
with the Roman Lucretia who, after being defiled by before developing his own idiosyncratic style based years before his death he became a lay brother in
the son of Tarquin, stabbed herself rather than live on the Venetian interest in colour and light. His account a monastery.
as a spoiled woman. Virtuous women from Antiquity book has survived (a rare occurrence), and shows that
were much admired during the Renaissance. Lotto’s he was a difficult individual who achieved little financial
early works show the strong influence of Venetian success. A skilful portrait painter, able to bring his ► Giovanni Bellini, Dossi, Luini, Palma Vecchio

Lorenzo Lotto, b Venice, c!480. d Loreto, c!556. Portrait of a Woman inspired by Lucretia. c!530-2. Oil on canvas. h96.5 * wil0.6 cm. h38 * w43'/2 in. National Gallery, London
Louis Morris Alpha-Phi

Thinned acrylic paint is poured in wing-like diagonal the fabric of the canvas is literally soaked in paint. the paint was poured vertically down the canvas,
parallel lines, staining the bare canvas. As the rivulets This concern with colour by saturation without visible covering most of its area, and the ‘Unfurleds’ series,
of bright colour cover so small a proportion of the brushstrokes, which magnifies the flatness of the to which Alpha-Phi belongs.
massive expanse, its dazzling near-emptiness irresistibly picture plane, demonstrates the painting’s connection
suggests a Zen-like spirit of meditation. Louis had with the Post-Painterly Abstraction movement in
developed in this work a new way of painting by the USA. Louis usually worked on series of paintings
rejecting shape and light in favour of pure colour, as at one time. These include the group “Veils’, in which ► Frankenthaler, Hodler, Kelly, Noland, Rothko

Morris Louis b Baltimore, MD, 1912. d Washington, DC, 1962. Alpha-Phi. 1961. Acrylic on canvas. h259.1 * w495.7 cm. hi02 x wl95 in. Tate, London
Lowry ls Coming from the Mill

Factory workers pour in a stream from the mill at vital and alive. This work provides a fascinating away from the public eye, he studied art in his spare
Salford. Observed with great affection and captured in pictorial record of the industrial north of England, time and was not discovered until 1939, when he
muted colours, the scene has been painted straight with its cotton mills and rows of back-to-back houses, was fifty-two, and then almost by accident. His first
onto the canvas with no preliminary sketch. Lowry scenes which often exist only as memory today. one-man exhibition followed immediately.
portrays William Blake’s ‘dark satanic mills’ with great Lowry’s raw style of painting is idiosyncratic and
sympathy and charm. Although often referred to as entirely individual, uninfluenced by the French Post-
‘matchstick people’, his figures are full of movement. Impressionists. A clerk all his working life who kept ► W Blake, Burra, Gontcharova, H Rousseau

from the Mill. 1930. Oil on canvas. h42 * w52 cm. hl6'/2 * w20!/2 in. The Lowry Collection, Salford
L S (Lawrence Stephen) Lowry, b Manchester, 1887. d Glossop, 1976. Coming
 Lucas van Leyden The Card Players

Fashionably dressed in felt hats and colourful cloaks, from everyday life. At the age of nine he learned in his numerous woodcuts and engravings: Lucas van
a group of men and women sit round a table playing to paint on glass and only a year later was a competent Leyden is believed to have been the first engraver to
cards. Others look passively on, or take a more active engraver. He was said to be a pupil of his father, etch onto copper instead of iron.
interest in the proceedings. This charming picture, with although all his father’s works have been lost. Lucas
its profusion of bright colours and careful compos¬ van Leyden and Gossaert travelled to Flanders, giving
ition, is fresh and appealing. A superb draughtsman, banquets for local painters, and he also spent time
Lucas van Leyden liked to portray amusing scenes in Italy. The influence of Albrecht Diirer can be seen ► Ter Brugghen, Diirer, Gossaert, Honthorst, La Tour

340

Lucas van Leyden b Leiden, 1494 d Leiden, 1533. The Card Players. c1520. Oil on panel. h34 * w48 cm. h 14 * wl 8 in. Wilton House, Salisbury
Luini Bernardino The Executioner Presents John the Baptist's Head to Herod

The Baptist’s head is placed on a dish for Salome to harmoniously balancing the elements of his picture 1483. Although he could not match Leonardo’s
take in to Herod, but instead of presenting a scene of than in illustrating a real life event. In fact, drama and profound analysis of character and feeling, Luini’s
horror, Luini tackles the subject with calm decorum. tension were beyond his range of pictorial expression; imitations of Leonardo’s work made him one of the
Salome’s only gesture is to gently avert her eyes he was better suited to painting tender Madonnas and most popular Milanese painters of his time.
from the gory spectacle before her, with no indication saints in rich colours, using his subtle skill to create
of the revulsion or shock which we might expect soft, smoky contours. Luini’s style was entirely domin¬
in the circumstances. Luini was more interested in ated by Leonardo da Vinci, who had come to Milan by ► Gentileschi, Ghirlandaio, Leonardo, Lotto

Bernardino Luini. b Lui.no, c!480. d Milan, 1532. The Executioner Presents John the Baptist's Head to Herod 1527-31. Tempera on panel. h5^ w58 cm. h20 x w22% in. Galleria degli Uffizi, Florence
 Magritte Rene The Treachery of Images

Magritte appears to contradict reality by nonsensically questions the concepts of definition and represen¬ emerging from the centre of a fireplace, or a sky
naming something that does not need to be named, tation. All is not as it appears to be, Magritte is saying; in which the clouds have turned into French loaves.
at the same time as denying that it is what it obviously the picture thus presents a challenge to ordered society Born in Belgium, Magritte began his career as a
is. By writing ‘This is not a pipe’ beneath the picture and an assault on the accepted way in which people commercial artist, and this may be reflected in the
of one, he illustrates that the image of an object must see and think. Initially inspired by Giorgio de Chirico, sharpness and clarity of his work.
not be confused with something tangible and real. Magritte’s Surrealist paintings often use fantastic,
One of Magritte’s most famous images, the painting disturbing and dream-like images, such as a steam train ► Bellmer, Brauner, De Chirico, Dali, Delvaux, Tanguy

342

Rene Magritte b Lessines, 1898 d Brussels, 1967. The Treachery of Images. 1928-9. Oil on canvas. h60 * w81 cm. h235/a * w317/s in. Los Angeles County Museum of Art, Los Angeles, CA
Maillol Aristide The Three Nymphs

Originally conceived as a classic representation of the girl, is also typical of Classical representations of years designing tapestries, in the second half of his life
mythic Three Graces, this bronze statue has great the Three Graces. Maillol did not adopt the rough he concentrated almost exclusively on sculpting the
solidity and weightiness in its smooth, rounded curves surfaces, fluid shapes and intense energy of his female nude, and revived the Classical ideas of Greece
and restrained movements. Although Maillol's concept contemporary, Auguste Rodin. He was more interested in the fifth century bc, in which figures had a fixed and
changed while he was working on the preparatory in calm than in drama, in timeless serenity than in monumental quality.
plaster casts, the mirroring effect of the three nudes, fleeting expressions and emotions, seeking the eternal
which gives the impression of three views of the same rather than the momentary. After spending several ► Botticelli, Canova, Ingres, Powers, Rodin, Rubens

343

Aristide Maillol, b Banyuls-sur-Mer, 1861. d near Banyuls-sur-Mer, 1944. The Three Nymphs. 1930-7. Bronze, hi60 * wl44 cm. h63 * w56’4 in. Private collection
 Malevich Kasimir Suprematism

Geometric elements painted in basic colours appear a system which strove to achieve absolute purity background, the abstract to end all abstracts. Realizing

to float as if suspended on the canvas. Malevich of form and colour. For him, this method constituted at this point that he could take the concept no further,
has created a complex composition by overlapping the an expression of pure artistic feeling, or what he he reverted to figurative paintings.
forms to convey a sense of perspective and depth. called ‘non-objective sensation’. In 1918, he took
A Suprematist work, it banishes every trace of subject, the development of non-objective art to its logical
relying solely on the interaction between form and conclusion in a series of works entitled “White on
colour. Malevich was the founder of Suprematism, White’, consisting of a white square on a white ► Gabo, Lissitzky, Moholy-Nagy, Popova, Rodchenko

344

Kasimir Malevich b Kiev, 1878. d Leningrad, 1935. Suprematism. 1915. Oil on canvas, hi01.5 * w62 cm. h40 * w24 in. Stedelijk Museum, Amsterdai
Man Ray Tomorrow

Displayed on a curved surface and ambiguous in and irrational techniques as an artist fitted in well with famous rayograph, a photographic image made
its distorted triple exposure, this photograph suggests the principles of Dada, an anti-art movement intended without a camera, were his invention. Always at the
movement and sexual tension, dramatically empha¬ to shock and outrage. After studying art in New York, forefront of the avant-garde, he influenced several
sizing the female form. Man Ray was one of the most Man Ray founded a Dadaist group there and became generations of artists.
inventive photographers of his time, experimenting a leading figure in the development of the Modern
with and pioneering new techniques in what was then Movement. In the 1920s he moved to Paris, where he
an exciting new medium. His rich, fertile imagination made several Surrealist films. Solarized images and the ► Brauner, Dali, Leighton, Sheeler, Sherman

345

Man Ray. b Philadelphia, PA, 1890. d Paris, 19/6. Tomorrow. 1932. Triple exposure photograph. h41 cm. hl6'/s in. Private collection
 Manet Edouard Le dejeuner sur I'herbe

A nude woman sits in a glade, nonchalantly picnicking consciously tried to evoke the high ideals of artistic rebel, he developed a brilliant technique
with two young gallants in contemporary clothes. Renaissance art. This daring mixture of ancient and with much use of black. Later he was influenced by
The large canvas is treated with broad applications modern — contemporary bohemian life given the the Impressionists’ lighter colours. It is ironic that
of colour, and the stark, direct lighting reduces the context and scale of Classical art — led to this painting he scandalized both art critics and public, yet revered
modelling of the figures to the bare minimum. Basing being widely condemned by the critics when first conventional artists like Diego Velazquez and Titian.
his figures on a composition by Raphael, and evoking shown. Manet’s aim was to liberate artists from the
the pastoral atmosphere of Giorgione, Manet has doctrines of academicism and literary subjects. An ► Courbet, Degas, Giorgione, Tissot, Titian, Velazquez

346

Edouard Manet b Paris, 1832. d Paris, 1883. Le dejeuner sur I'herbe. 1863. Oil on canvas. h208 * w264.5 cm. h813/4 * wl04Ve in. Musee d'Orsay, Paris
Mangold Robert Attic Series III

This irregularly shaped canvas, whose bottom edge the way in which we perceive things. Often more works on canvas which explore geometric proportions
is parallel with the floor, has been painted with a roller. interested in the preparation of an idea than in in canvas shape and content. In the 1980s he took on
One of a series of twenty-eight and named after the turning it into a work of art, Mangold is fascinated a more lyrical palette reminiscent of Henri Matisse.
Greek pots in the Metropolitan Museum in New York, by works made up of sections put together to make
this Minimalist work has no image, suggests no a whole, and he likes an element of visual illusion.
emotion and is without movement. Mangold deliber¬ Through the years Mangold’s painting has been highly
ately distorts a precise geometric form to question varied and has included spray-painted wood panels and ► Andre, LeWitt, Lissitzky, Matisse, B Nicholson, Ryman

7,c.v-y.

347

Robert Mangold, b North Tonawanda, NY, 1937. Attic Series III. 1990. Acrylic and coloured pencil on canvas. h229 * w310cm. h90’/8 * w!22 in. Private collection
Mantegna Andrea The Agony in the Garden

Five angels appear to Christ as he prays, while three by a minor painter, becoming one of the most collection of Classical works of art. He was also
of his apostles sleep in the foreground, unaware that important artists of his time. His style, as that of other a pioneer in the art of engraving and his engravings
Judas and a crowd of soldiers are on their way to Renaissance artists, was inspired by ancient Roman on classical subjects were later to influence Albrecht
arrest Christ. Every aspect of the scene — the bizarre sculpture. Many of his works are in fact executed in Diirer and others.
rock formations, the imaginary town, the rigid folds of grisaille, a painted imitation of marble or bronze relief.
drapery - is painted in stony, precise detail. Mantegna For much of his life Mantegna was Court painter
was of humble birth, but was adopted and taught to the Duke of Mantua, for whom he formed a major ► Carpaccio, Durer, Giulio Romano, Uccello

Andrea Mantegna b Isola di Carturo, cl430/l. d Mantua, 1506. The Agony in the Garden. cl460. Tempera on panel. h63 * w80 cm. h2434i * W3U6 in. National Gallery, London
Manzu Giacomo The Cardinal

With only a hand appearing to disturb the geometric a thread of harmony and figurative order running saints for many churches including St Peter’s, Rome,
unity of his voluminous robes, a cardinal reflects through the fragmented schisms of twentieth-century and also for the University of Milan. He later taught
in priestly solemnity on the authority of his office. art. The first Italian artist for whom a museum was sculpture, reviving the Classical techniques of working
His conical shape is at once severe and lyrical, with created during his lifetime, Manzu was born the son in bronze.
no suggestion of the body beneath. A feeling for of a shoemaker, and was apprenticed to a plasterer
continuous, undisturbed outlines has contributed to and a woodcarver before he began to study art. He was
the statue’s lyrical qualities. Manzu’s work represents commissioned to make religious reliefs and statues of ► Algardi, Bacon, Brancusi, Maillol, Marini

349

Giacomo Manzu. b Bergamo, 1908. d Bergamo, 1991. The Cardinal. 1955. Bronze. h208 cm. h81% in. Galleria Internazionale d'Arte Moderna di Ca' Pesoro, Venice
 MarC Franz Little Yellow Horses

Three yellow, curvaceous horses dominate the force and as projections of the artist’s imagination, name because Marc liked horses, Kandinsky liked
foreground of a detached hilly landscape. The main that make this one of Marc’s most memorable images. riders and they both liked blue. Most of Marc’s
theme is colour, yellow signifying the passive female In the way it uses colour and symbols to express the paintings were of horses in strong colours, but from
element, while the sensual red of the horses’ flanks artist’s inner feelings it is a good example of the work 1912 his work became more abstract. Tragically, he
contrasts with the spiritual blue of the background. of the group of Expressionist artists called Der Blaue was killed at Verdun in 1916.
It is this use of luminous colour, coupled with the Reiter (‘the blue rider’). The two most important
representation of the animals as symbols of a life- members, Wassily Kandinsky and Marc, invented the ► Delaunay, Jawlensky, Kandinsky, Marini, Stubbs

350

Franz Marc b Munich, 1880. d Verdun, 1916. Little Yellow Horses. 1912. Oil on canvas. h66 x wl04.5 cm. h26 x w41'/8 in. Staatsgalerie, Stuttgart
Marclay Christian The Clock

The Clock, Marclay’s magnum opus, is a twenty-four- When an alarm clock in a scene from American Gigolo been shaped by an interest in performance and punk
hour long video montage of thousands of clips taken displays 12.05, that is the exact time at which it is seen rock. Celebrated for his pioneering use of turntables
from television and cinema. Each clip refers to the in the theatre or gallery. Whilst the film jumps between and re-assembled records, his early pieces brought
passage of time, either in the dialogue or through genres and across cinematic history, Marclay’s metic¬ together cutting-edge music with the assemblage
scenes in which a clock, watch (or, on occasion, a ulous editing creates a seamless flow - at times leading aesthetics of Dada and Surrealism.
sundial) is visible. The film unfolds in real time — each to thought-provoking or amusing sequences. Born in
reference synchronized with that of the audience. California and raised in Geneva, Marclay’s work has ► Alys, Gonzalez-Torres, Rauschenberg, Viola

Christian Marclay. b San Rafael, CA, 1955. The Clock. 2010. Single-channel video with sound, dur 24 hrs. Paula Cooper Gallery, NY
 Marden Brice Event

Serpentine lines move rhythmically across the surface his generation, Marden first came to prominence in rules, or systems, for each of the series of works that

of the canvas. Pushing up against the edges of the the 1960s with his minimalist monochrome paintings. followed - each painting becoming a subde variation

rectangular panels, their uncoiling ribbon-like forms In part inspired by Chinese and Japanese calligraphy, of a theme. The slow, meditated-upon processes

are suspended in carefully balanced tension. Although in the mid-1980s the artist started to introduce linear that underlie Marden’s paintings encourage an equally

the colours overlap, they never intertwine. Each motifs into his work. Using a long brush, which contemplative approach on the part of the viewer.

occupies a defined plane within the shallow pictorial enabled him to paint at some distance from the canvas,
space. One of the most respected abstract painters of Marden imposed a set of compositional and formal ► Albers, Diebenkorn, A Martin, Noland, Pollock

352

Brice Marden b New York, NY, 1938. Event. 2004-7. Oil on linen. Each panel h 180 x wl20cm. h72 * w48 in. Private collection
Marin John Maine Islands

Painted as if seen through a window, this watercolour flat painting hung on a wall. By doing this he is playing Cubism (with its fragmentation of forms and play on
plays with the ambiguities of space. Marin has taken a visual game with perceptions of flatness and depth. perceptions), but seen from an American perspective.
a favourite subject, a traditional seascape, and sim¬ Marin originally trained and worked as an architect, Although he sometimes painted in oils, he is best
plified it into its most basic forms and bright colours. and his early works show the influence of James Abbott known for his watercolours, usually of landscapes or
Standing in a room overlooking an expanse of sea McNeill Whisder. He went on to develop a unique studies of architecture.
dotted with islands, he has enclosed the scene within and individual style, filtered through Fauvism (with its
a window frame, making the view itself look like a distortions, flat patterns and violent colour) and ► Davis, Diebenkorn, Hodler, Turner, Whistler

353

John Marin, b Rutherford, NJ, 1870. d Cape Split, ME, 1953. Maine Islands. 1922. Watercolour on paper, h42.8 * w50.1 cm. hl6 % * wl9% in, Phillips Collection, Washington, DC
Marini Marino Horseman

Solid and enigmatic, this statue with its simple outlines movement, and remaining faithful only to his own a painter, whose portraits included such major figures
conveys a primitive sense of vitality and power. It is vision. The only influence upon him was that of the as the composer Igor Stravinsky, the author Henry
formal and sober, but rich in pathos and poetical statues of Classical Greece. His best-known theme Miller and the artist Marc Chagall.
feeling. Marini produced a series of horsemen which was that of the horse and rider, and he explored many
were inspired by seeing peasants fleeing from their versions of it over a long period of years. A leading
villages in wartime. Like Giacomo Manzu, Marini was Italian sculptor, he often combined different tech¬
an individualist, never part of any artistic group or niques to obtain the effect he wanted, but he was also ► Chagall, Clouet, Epstein, Lawrence, Manzu

Marino Marini, b Pistoia, 1901. d Viareggio, 1980. Horseman. 1947. Bronze. hl01.6 cm. h40 in. Museum of Modern Art, New York, NY
Martin Agnes Untitled

This early abstract work is one of the first to exhibit Ad Reinhardt and Ellsworth Kelly. Her grid paintings, (particularly the desert landscapes of New Mexico)
the delicate grid lines, restrained colour and mysterious which some critics initially linked to the machine- and Eastern religions, notably Daoism. The paintings
intimacy that would characterize Martin’s paintings edged Minimalist movement, are actually examples of created after her return to Taos in 1967 became
for the rest of her life. While living in New York Abstract Expressionism, dense with gestural markings increasingly ethereal, the grids sometimes so faint that
between 1957 and 1967, Martin began to experiment and unmistakable traces of the artist’s hand. In their they seemed to be fading into a shimmering mist.
with symmetrical compositions comprising circles purity and meditative quality, the canvases suggest
and squares, under the influence of such artists as a spiritualism that reflects Martin’s interest in nature ► Klein, Mangold, Marden, Mondrian, Newman

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Agnes Martin, b Macklin, Saskatchewan, 1912. d Taas, NM, 2004. Untitled. 1960. Oil and ink on linen. h30.5 * w30.5 cm. Hl2 * Wl2 in. Private collection
Martin John The Great Day of His Wrath

Concentrated into this huge landscape, under an ominously from whence they came. Nicknamed “Mad Martin’, this tiny figures, exotic architecture and lurid, menacing skies.
dark sky, are all the intensely dramatic effects that Martin visionary began as a struggling heraldic and enamel painter, Paralysis from a stroke brought his career to an abrupt end.
could muster to show the awesome power of nature. It is before his fertile imagination produced the grandiose and
nothing less than the end of the world. Mountains crumble, lurid visionary paintings that created a sensation in England
fires rage and bolts of lightning fall as God exacts his final and Europe, and influenced J M W Turner and others.
revenge on mankind. In the centre, tiny figures, naked in Inspired by the works of John Milton, his huge canvases
their shame and disgrace, are sucked into the primeval void showed Biblical subjects on a vast scale, peopled with ► Bosch, Church, Cole, Cozens, Friedrich, Turner

John Martin b Haydon Bridge, 1789. d Douglas, 1854. The Great Day of His Wrath. cl 851 -3. Oil on canvas, hi 96.5 x w303 cm. h773/e x wl 193/s in. Tate, London
Martini Simone The Annunciation

This painting depicts the moment in the Annunciation message, turning away from him and pulling her cloak most important and enlightened patrons of his day,
when Gabriel first appears to the Virgin to announce around her for protection. The white lilies and Mary’s including the Sienese government, the poet Petrarch
that she is to be the mother of Christ. His billowing book, traditional attributes of Annunciation scenes, and King Robert of Anjou.
cape and extended wings suggest that he has only just are depicted with unusual realism. With its elegant
arrived. The words of his greeting are engraved on the figures and richly patterned surface this work is one
gold background, as if issuing from his mouth at that of the most perfect examples of the fourteenth-
very moment. Mary recoils in horror at Gabriel’s century Gothic style. Martini worked for some of the ► Fra Angelico, Duccio, Lorenzo Monaco, Tintoretto

357

Simone Martini, b Siena, cl284. d Avignon, 1344. The Annunciation. 1333. Tempera on panel, hi 84 * w2!0cm. h72'/2 * w82% in. Galleria degli Uffizi, Florence
 Masaccio The Holy Trinity

The vaulted arch in this painting is a perfect illustration architecture at the time. The figures have an impression economical techniques suggest a real sense of light and
of the linear perspective which fascinated contemporary of real, physical presence, of a solidity unknown before space. His major surviving works are frescos. Tragically,
Florentine artists. Masaccio painted this scene so that all Masaccio. In his short life, this pioneer became one this brilliant painter died before he was thirty.
the sightlines converge on a single point, just as we would of the greatest fifteenth-century Florentine painters,
see the lines painted on a straight road getting smaller and an influence on those who followed. Original and
as they stretch into the distance. The vaulting, columns authoritative, he had the ability to convey the drama
and pilasters reflect the renewed interest in Classical of a situation through a telling glance or gesture, and his ► Grunewald, Masolino, Piero della Francesca, Rouault

358

Masaccio (Tommaso di Giovanni) b San Giovanni Valdarno, 1401. d Rome, cl428. The Holy Trinity. cl420. Fresco. h667 x w317 cm. h2621/2 * wl247/8 in. Santa Maria Novella, Florence
Masolino Saint Peter and Saint Paul

The two saints may be identified by the objects in their Masolino is the more delicate artist of the two, painted what in their collaborations. The names
hands. Paul holds a sword, from his days as a soldier, as seen here in the soft features of Peter’s face, and Masolino and Masaccio, meaning ‘Little Tom’ and ‘Big
whereas Peter holds the keys of Heaven, given to the relationship of colours in the robes. Masolino Tom’, may have come from an attempt to tell them
him by Christ. Originally part of an altarpiece for the and Masaccio frequently worked together; Masolino, apart. After Masaccio’s early death, Masolino reverted
church of Santa Maria Maggiore in Rome, this panel although the elder of the two, was profoundly to the International Gothic style of his youth.
was a collaboration between Masolino and Masaccio; influenced by Masaccio’s style - so much so that
the figures have Masaccio’s characteristic solidity. experts often have difficulty in working out who ► Giotto, Lorenzo Monaco, Masaccio, Sluter, Uccello

I. hi 14.5 x w54.4 cm. h45 * w213/s in. Philadelphia Museum of Art, Philadelphia, PA
Masolino da Panicale. b Panicale, c1383. d Florence, c!433. Saint Peter and Saint Paul. c!428. Oil or pone
Massys Quentin Portrait of a Man

The cross, feather, rose, paper and writing instruments profoundly influenced by Leonardo da Vinci and to legend, Massys was a blacksmith who transformed
indicate that this man is a notary, someone who Albrecht Durer, and his sitters are usually seen against himself into a musician and man of culture. A distin¬
certifies documents for the public, but his actual a wooded or mountainous landscape (similar to that guished and realistic portrait painter, he developed
identity is not known. There is a directness in the way in the Mona Lisa). There are other indications of a highly polished technique.
he looks out at the viewer, and a precision in the Leonardo’s influence: some of his original and ironical
whole painting, from the accurate likeness of the sitter drawings are similar to Leonardo’s caricature heads
to the landscape beyond the arcade. Massys was of old men and women, called ‘grotesques’. According ► Durer, Holbein, Leonardo, Memling, Sittow

Quentin Massys b Louvain, 1465/6. d Antwerp, 1530. Portrait of a Man. cl510. Oil on panel. h80 * w64.5 cm. h311/2 * w25'/i in. National Gallery of Scotland, Edinburgh
Matisse Henri The Dinner Table (Harmony in Red)

A flurry of primary colours dominates this dazzling simplified. This enhances the lyrical flow of the orna¬ spanned the years 1905-8 and his style continued
painting of the interior of a room with a woman laying mental forms and iridescent colours. Matisse has used to develop throughout his long career. Colour always
a table. The entire surface is harmonized into a vibrant, colour as a means of expression rather than description played a central role in his work, however, as can be
unified pattern of pure colour which has been skilfully and has deliberately flouted the conventional rules seen in the vibrant paper collages he produced in his
integrated into the structural composition, saturating of drawing and perspective. He and his followers were last years.
the room. The tablecloth merges with the wall, and the called ‘Fauves’, or wild beasts, due to the primitive
forms have been completely flattened, distorted and savagery of their style. Matisse’s Fauvist manner ► Bonnard, Derain, Gauguin, Van Gogh, Heron, Kirchner

Henri Matisse, b Le Cateau-Cambresis, 1869. d Nice, 1954. The Dinner Table (Harmony in Red). 1908. Oil on canvas, hi 80 * w246 cm. h71 » w97 in. Hermitage Museum, St Petersburg
Matta Untitled

Strange shapes inhabit this fantastical, amorphous and other-worldliness, while the pictorial forms seem the ‘automatic’ technique of entirely free brushstrokes
landscape. Visions from a dark imagination dart to be the result of a bizarre symbiosis of organic limbs without rational control, is typical of Surrealism, and
spontaneously across the picture surface and beyond, and mechanical components extending into infinite was to inspire Jackson Pollock and Arshile Gorky,
like electrical currents. They seem to resist any polar space. Matta first trained as an architect, but turned to among others.
attraction to direct them into a semblance of painting in 1937. He spent the war years in New York
compositional unity or rhythm. An unnatural blue-ish and came into contact with many members of the
colour suffuses the scene with an aura of mystery Surrealist movement. His style of painting, using ► Bellmer, Brauner, Gorky, Lam, Pollock

Roberto Sebastian Antonio Matta Echaurren. b Santiago de Chile, 1911. d Civitavecchia, Italy, 2002. Untitled. 1950. Oil on canvas, hi30 x wl95 cm. h51 Ve x w76% in. Latin American Masters, Beverly Hills, CA
Matta-Clark Gordon Office Baroque, Antwerp

A series of circular and droplet-shaped holes have Situationist movement to engage with buildings in to Matta-Clark’s art was an investigation into the
been cut through the floors of a five-storey office a less conventional way. Producing what he referred to transformation of found objects. The cuts in Office
building. Looking down to the ground below, the effect as ‘Anarchitecture’, he modified a number of disused Baroque, Antwerp were inspired by overlapping shapes
is both vertiginous and amusing — the architectural buildings through the insertion of ‘cuts’; a process that created by teacup stains that had been left on
structure appears to have been cut open like a tin can. linked together spaces that had previously been a drawing. Matta-Clark’s father was the Surrealist
After training as an architect, Matta-Clark was inspired defined as private and public. In one notable example, painter Matta Echaurren.
by the work of Land artists and the European Splitting, a house was sliced completely in half. Central ► Fontana, Graham, Heizer, Matta, Whiteread

Gordon Matta-Clark. b New York, NY, 1943. d New York, NY, 1978. Office Baroque, Antwerp. 1977. Destroyed
Mehretu Dispersion

A densely layered kaleidoscopic mass of colour Nagy or Malevich. Incorporating and combining landscapes. Born in Ethiopia, Mehretu later studied in
explodes across the canvas surface. Behind the pre-existing architectural plans and designs, Mehretu’s Senegal and the USA. Her paintings bring together
calligraphic swooshes and monochromatic geometric paintings suggest fantastical new maps that appear formal investigations into colour and line, with social
forms — that appear to swirl around as if caught in to represent both space and time. For the artist, the issues pertaining to power, history and the formation
some mysterious vortex - lies an elaborate linear colourful abstract marks and shapes exist as a type of of personal and cultural identity in the globalized world.
structure. It is as if a painting by Kandinsky has personal signifier, or language, belonging to the
collided head-on with an abstract design by Moholy- characters that occupy these complex Post-Modern ► Kiefer, Lissitsky, Malevich, Malta, Moholy-Nagy

Julie Mehretu b Addis Ababa, 1970. Dispersion. 2002. Ink and acrylic on canvas. h230 * w370 cm. h90 * wl44 in. Private collection
Memling Hans Saint John Altarpiece

One of the most famous triptychs painted by saints of the hospital, and saints Catherine and capitals. Probably a student of Rogier van der Weyden,
Memling, this work was commissioned for the high Barbara. The left wing depicts the beheading of Saint Memling developed a theatrical yet analytical style,
altar of the church at the hospital of Saint John (Sint John the Baptist, and the right wing shows Saint John the elements of his paintings carefully ordered to
Jan) in Bruges. Once known as the Mystic Marriage of the Evangelist on Patmos, with his vision of the create a unified visual spectacle. His bright colours,
Saint Catherine, it is dedicated to the Virgin and the two Apocalypse. Episodes from the lives of the two saints which replace the gold and silver of medieval paint¬
Saint Johns. The central panel shows the Virgin and were also painted in the landscapes between the ings, add to the sense of space.
Child enthroned, flanked by the two Johns, patron columns behind the Virgin, and even in the column ► Bouts, Campin, Duccio, Lochner, Van der Weyden

365

Hans Memling. b Seligenstadt, 1433. d Bruges, 1494. Saint John Altarpiece. 1474-9. Oil on oak panel. hl73 * W173.7 cm h68 * w68 in (central). hl73 * w78.9cm. h68 * w31 in. (wings). Memlingmuseum, Bruges
 Mengs Anton Raphael Self-portrait

Dressed in a simple brown cloak with a red under¬ being those of Vincent van Gogh and Rembrandt. historical subjects in the restrained emotions and
jacket, Mengs presents us with a completely informal, These searching introspections, plumbed into the inner heroic style of the Neo-Classical era, yet here he has
unpretentious image of himself. His rather shabby psyche, give a penetrating insight into the character let us have a glimpse of his real personality.
clothing, unkempt hair and drained features with tired, of the artist. Often, as in this painting, all concrete
swollen eyes are an honest depiction of an exhausted details apart from a brush and a folder of sketches are
man, worn out with hard work and inner struggle. excluded. A German by birth who worked mostly in
Many painters have made self-portraits, the best known Rome and Spain, Mengs was a painter of religious and ► Kauffmann, Raeburn, Rembrandt, Vigee-Lebrun

366

Anton Raphael Mengs b Aussig, 1728. d Rome, 1779. Self-portrait. cl774. Oil on canvas, h 102 * w77 cm. h40'/4 * w30’/4in. Hermitage Museum, St Petersburg
MerZ Mario Unreal City

The words citta irreale (‘the unreal city’) are inscribed in the fleeting, subtly changing processes of thought poverty and lack of refinement, whether of means,
neon light within a triangular framework. It is a brash, as a comment on the bland standardization of modern materials or effect; banality was raised to the level
succinct statement on the artificial and transitory technological culture. Merz was an exponent of Arte of art and commonplace objects were invested with
nature of contemporary urban life — but also an Povera, a new form of Conceptual Art developed in metaphysical significance.
enigmatic and puzzling work. Its very elusiveness can Italy in the 1960s which aimed at disassociating artistic
be interpreted as the source of infinite ambiguities creation from the notion of high culture. As the name
of meaning, demonstrating Merz’s interest in exploring suggests, the defining criteria for Arte Povera were ► Beuys, Flavin, Nauman, Oldenburg, Viola

367

Mario Merz. b Milan, 1925. d Milan, 2003. Unreal City. 1968. Iron, wire mesh, wax and neon light. h200 * wl64 cm. h78% * w64'/2 in. Stedelijk Museum, Amsterdam
 Metsu Gabriel The Music Lesson

A delicate air of mystery enshrouds this little interior, colour, such as in the woman’s red bodice and the subtle poetical allusions, providing revealing insights
in which a man and a woman are seated at a virginal. man’s blue hose, create delicate spatial harmonies. into the lives of the Dutch middle classes in the
Ostensibly a music lesson, the picture probably also The carefully structured composition is based on the seventeenth century.
depicts a scene of courtship, where music acts as stable horizontals and verticals of the spinet, picture-
the accompaniment of love. The calm, balanced mood frames and chair, with few diagonals intruding.
of this painting is achieved by its cool luminosity, Metsu was a pupil of Gerrit Dou, who specialized
as in the pale tones of the wall. Brilliant areas of pure in domestic interior scenes. His paintings are rich in ► Ter Borch, Dou, Hammershei, De Hooch, Vermeer

368

Gabriel Metsu b Leiden, 1629. d Amsterdam, 1667. The Music Lesson. cl658. Oil on canvas. h38.4 * w32.2 cm. hi5Vs * wl23/a in. National Gallery, London
Michelangelo Pieto

This most supremely elegant and graceful sculpture eloquendy with the plump, complicated ruching of his mar the features of this most blessed of Virgins.
was begun by the young Michelangelo at the age mother’s robes, and the generous sweep of the funeral Sculptor, painter, architect, engineer and poet,
of only twenty-three. The pyramidal composition, shroud seems to cradle him as much as she does. Michelangelo occupied the pinnacle of Renaissance
with the Virgin’s startlingly youthful face at the apex, Michelangelo is said to have been criticized for his art during his lifetime, and remains there today. This
displays the sculptor’s early mastery of form and unrealistically youthful depiction of Mary, whose face is the only work he ever signed - on the sash across
contour, seen most clearly in the drapery. The tighdy radiates serenity and acceptance rather than distraught the Virgin’s chest.
drawn, flat folds of Christ’s loincloth contrast grief. It was deliberate, he replied, for time could not ► Bernini, Canova, Donatello, Giotto, Memling

369

Michelangelo Buonarroti, b Caprese, 1475. d Rome, 1564. Pietd. 1497-1500. Marble. hl75 * w200 cm. h68'/2 * w78% in. Papal Basilica of Saint Peter, Rome
Milla is Sir John Everett Ophelia

In an event taken from Shakespeare’s Hamlet, the tragic selection of flowers and foliage that surround Ophelia, of the Pre-Raphaelite Brotherhood. He became one
figure of Ophelia is shown partially submerged in a Millais spent four months painting in the open air, of the most celebrated painters working in Victorian
stream into which she has fallen whilst out picking an uncommon practice among artists at the time. England, and was elected President of the Royal
flowers. Ophelia is driven mad with grief following her He subsequently painted the figure of Ophelia in his Academy in 1896.
father’s murder by her lover Hamlet — Millais depicts London studio, employing the model Elizabeth Siddal,
the haunting image of Ophelia calmly singing as she who posed whilst lying in a bath. A talented artist
allows herself' to drown. To capture accurately the rich from a very young age, Millais was a founding member ► Burne-Jones, Hunt, Raphael, Rossetti, Waterhouse

Sir John Everett Millais b Southampton, 1829. d London, 1896. Ophelia. 1851-2. Oil on canvas, h74 * wl 12 cm. h29Vs * w44 in. Tate, London
Millet Jean-Francois The Gleaners

Three peasant women collect the scanty remains pickings left by the rich, who are far away on the nineteenth century. Millet’s drawings are also notable
of the harvest after it has been reaped. In the distance, horizon. Millet transformed scenes of heart-breaking for their sculptural simplification of form and their
the harvesters are loading up the plentiful crop. The poverty into images of epic heroism, depicting the monumental qualities.
cool, golden light gives a noble dignity to the figures, noble toil of peasants and their intimacy with the land
but this painting is more than a mere depiction of with flagrant realism. Although this provoked much
rural life. It is also a harsh social comment on the poor, criticism among his contemporaries, this painting
peasant classes, reduced to labouring over the slim is now regarded as one of the masterpieces of the ► Corot, Courbet, Daubigny, Pissarro, T Rousseau

Jean-Francois Millet, b Gruchy, 1814. d Barbizon, 1875.The Gleaners. 1857. Oiloncanvas. h85.5 x will cm. h33Vs x w43% in. Museed'Orsay, Paris
Miro Joan Women and Bird in the Moonlight

Playing and mingling acrobatically with one another, with all their freshness. The painting forms part of member. He worked with Max Ernst on the creation
these imaginary, frolicking figures project themselves a series entitled “Women and Birds’ and is considered of the decor for Diaghilev’s ballet Romo and Juliet, and
vivaciously into the foreground. The background paint to be one of the most important of all this Spanish also executed a wide range of lithographs, etchings
has been rubbed away to show the canvas underneath, artist’s works. In its portrayal of weird, hallucinatory and ceramics throughout his life.
lending it a raw, earthy quality. Evoking imagery from beings, which seem to spring from a subconscious
a primitive world, the magical figures conjure up dream-world, the picture is typical of the Surrealist
thoughts of prehistoric cave-paintings, restored to us movement, of which Miro became a prominent ► Arp, Baumeister, Brauner, Dali, Ernst

Joan Miro b Barcelona, 1893 d Palma, 1983. Women and Bird in the Moonlight. 1949. Oil on canvas. h81.5 * w66 cm. h32 x w26 in. Tate, London
Modersohn-Becker Paula Old Poorhouse Woman with a Glass Bottle

Gazing out in a deep reverie, an old woman firmly sky, for example, glows with a luminous yellow-green early at the age of thirty-one. In its simplification
holds a foxglove in her hand. She sits at the very edge light. Although she was born in Germany and worked of colour and form, and emphasis on line, her work
of the picture-plane in front of a field of poppies there most of her life, the artist’s frequent trips to anticipates German Expressionism.
and an inverted bottle. The flowers, bottle and woman Paris gave her contact with the thick, textural technique
are all painted with great solidity; their massive shapes of Vincent van Gogh and the solid, simple forms and
easily fill the canvas. Modersohn-Becker’s sensitivity colours of Paul Gauguin. This work was painted in the
to colour is equally important to the composition. The last year of Modersohn-Becker’s life; she died tragically ► Gauguin, Van Gogh, Gontcharova, Jawlensky, Nolde

373

Paula Modersohn-Becker. b Dresden, 1876. d Worpswede, 1907. Old Poorhouse Woman with a Glass Bottle. 1907. Oil on canvas. h96 » w80.2 cm. h37% * w31Mt in. Ludwig RoseliusSammlung, Bremen
Modigliani Amedeo Female Nude

The female model leans against a chair in a plain angular lines, and the almost sculptural quality of the pace. Born in Italy, he went to Paris in 1906 and spent
interior which provides no distractions, allowing us to sitter’s face, are typical of the artist’s work. Modigliani the rest of his short life there. When he died, aged
gaze at her beauty. The nude was Modigliani’s main developed his own individual, restrained style of thirty-five, of tuberculosis, his beloved girlfriend
pictorial subject and this is considered to be one of his painting and was not closely affiliated to any movement Jeanne Hebuterne committed suicide.
most beautiful portrayals. It is also one of his earliest although he was profoundly influenced by Cubism,
works. The girl’s submissive and serene expression African sculpture and the work of Paul Cezanne. A
gives the painting an erotic charge. The elongated, painter and sculptor, Modigliani lived at an exhausting ► Boucher, Brancusi, Cezanne, Foujita, Munch, Picasso

Amedeo Modigliani, b Livorno, 1884. d Paris, 1920. Female Nude, cl 916. Oil on canvas. h92.4 * w60 cm. h36!/2 * w23 Vs in. Courtauld Institute of Art Gallery, Londoi
Moholy-Nagy Laszlo CHX

A perfect illusion of objects suspended in space infinite environment. Influenced by the ideas of notable commercial achievements was the creation of
is created by this painting. The artist has placed the Russian Constructivist movement, the artist has the special effects for Alexander Korda’s movie More
geometric forms within the confines of a narrowing stripped the geometric forms of all ornamentation, Things to Come. Hungarian by birth, Moholy-Nagy lived
grid pattern to create an impression of three- using them to demonstrate the relationship between in Germany from 1920 to 1937 when he settled in
dimensionality and perspective. The importance of space and volume. Moholy-Nagy was active in Chicago and founded The Institute of Design.
this painting lies in the way it explores the ability industrial design, photography, sculpture, cinema¬
of light and colour to move objects in a seemingly tography, writing and stage design. One of his ► Gabo, Lissitzky, Malevich, Rodchenko

375

Laszlo Moholy-Nagy, b Borsod, 1895. d Chicago>, IL, 1946. CHX. 1939. Oil on canvas. h76 * w96.5 cm. h29 % * w38 in. Private collection
 Mond rian Piet Composition

A simple black grid pattern interspersed with vivid until he found the perfect composition balance. to London in 1938. After a bomb exploded close to
sections of primary colour is boldly displayed in this His aim was to create an objective art of discipline his studio he travelled to New York where his compos¬
geometrical composition. Mondrian developed a style whose laws would somehow reflect the order of the itions became slightly more colourful, reflecting the
that banished the conventions of three-dimensional universe. The use of pure line and colour highlights more restless rhythms of life in the land of Broadway
space and the curved line. He wished to build his the painting’s connection to the De Stijl movement, and boogie-woogie.
pictures from the simplest elements - straight lines and of which Mondrian was a leading member. For over
primary colours - which he moved around the canvas twenty years he was based in Paris, before moving ► Albers, Van Doesburg, Judd, Malevich, Rodchenko

Piet Mondrian, b Amersfoort, 1872. d New York, NY, 1944. Composition. 1929. Oil on canvas. h45 * w45 cm. hl7% * wl7% in. Solomon R Guggenheim Museum, New York, NY
Monet Claude Impression, Sunrise

This painting of Le Havre, on the English Channel in Salon. Monet later explained the title as having Impressionist landscape, the canvas exhibits none

northwest France where Monet grew up, gave the been improvised for the show’s catalogue. Since the of the detail and finish that until that time were

Impressionist movement its name. It was displayed in painting was clearly not a typical seascape, he called considered non-negotiable elements of a painting.

April 1874 at an exhibition by a group of artists calling it Impression. The critic Louis Leroy appropriated Instead, the unblended colours, gestural brushwork

themselves the Societe anonyme des artistes peintres, the word in the title of his antagonistic review, and muddy details are just as Monet described

sculpteurs, graveurs etc., who wanted to avoid the ‘The Exhibition of the Impressionists’, thus uninten¬ them - an impression.
restrictions of the French Academy’s annual juried tionally giving the new movement a name. A classic ► Derain, Grimshaw, Pissarro, Signac, Turner

i. h48 x w62.5 cm. hi9 * w24% in. Musee Marmottan Monet, Paris
Claude Monet, b Paris, 1840. d Giverny, 1926. Impression, Sunrise. 1872. Oil on canvas.
 Moore Henry Recumbent Figure

Monumental and almost primeval, this carved statue Moore revived the tradition of direct carving into figures or groups was that they were often pierced.
seems to have been created more by the forces of stone or wood. In so doing he emphasized the natural Moore’s works are frequently displayed in the open air,
nature than by man. Semi-abstract in form, its smooth textures of his material, and in his massive works and several of his commissions stand outside major
and rounded outlines suggest the work of the he consciously reflected the contours and qualities of buildings in North America and Europe.
elements, while at the same time evoking the soft landscape and rock. As a result, the simple, solid
curves and flowing outlines of a female body. Inspired shapes of his sculptures have a powerfully brooding
by the vitality of ancient and primitive sculpture, presence. One of the distinguishing hallmarks of his ► Bourdelle, Hepworth, Maillol, Manzu, Rodin

378

Henry Moore, b Castleford, 1898. d Much Hadhom, 1986. Recumbent Figure. 1938. Green Hornton stone. h88.9 » wl 32.7 cm. h35 * 'MSIVi in. Tate, London
Morandi Giorgio Still Life

Remote and imprisoned in their austere, cool tones, still lifes of bottles and jugs throughout his long experiments of many contemporary artists. The sense
a collection of jugs, cups and containers is enveloped career. He sought to express the pure, poetic beauty of calm meditation that pervades his paintings invites
in a neutral background; they appear to exist in a of these objects in his powerfully simple, contem¬ comparison with the work of Jean-Baptiste-Simeon
complete vacuum. A sense of mystery pervades this plative compositions. While he was influenced briefly Chardin and Paul Cezanne rather than that of his
simple, intimate scene. With its harmonious compos¬ by Giorgio de Chirico’s idea of Metaphysical Painting, contemporaries. He is also known for his etchings.
ition and subtle colour variations it conveys an air of Morandi’s withdrawn, sensitive personality led him
meditative serenity. Morandi almost exclusively painted to stand aloof from the intellectual turmoil and ► Cezanne, Chardin, De Chirico, B Nicholson, De Stael

379

Giorgio Morandi. b Bologna, 1890. d Bologna, 1964. Still Life. 1960. Oil on canvas. h38 * W33.5 cm. hl4% * W13VL in. Private collection
Moreau Gustave Galatea

A sensual, naked nymph sits languidly in an exotic The technicolour myriads of underwater blooms, literary or mythological sources. As in this painting,
grotto, which is fantastically decorated with a and the softness of the execution, give the painting they used colour and form to imbue their work with
profusion of colourful anemones, corals and other a magical, dream-like quality. Moreau was associated expressive rather than descriptive meaning. Moreau
mineral flora. She is watched by an eerie, three-eyed with the Symbolist movement, whose painters also painted a large number of watercolours, which
monster. This picture is based on a story from moved away from the objective naturalism of the were highly acclaimed by his contemporaries.
Greek mythology, telling of the unrequited love Impressionists. They preferred to derive their
of the Cyclops, Polyphemus, for the Nereid, Galatea. inspiration from an imaginative synthesis of often ► Bonnard, Klimt, Modigliani, Mucha, Redon, Vuillard

Gustave Moreau b Paris, 1826. d Paris, 1898. Galatea. 1880. Oil on panel. h85 x w67 cm. h333/s * w263/s in. Private collection
Morisot Berthe The Cradle

A young mother is watching devotedly over her satin curtain behind the woman (the artist’s sister), Pierre Auguste Renoir. Although she often exhibited
sleeping baby in a cradle. The tenderness and love enhance the intimacy of the scene. Morisot was the her paintings alongside those of the Impressionists,
implicit in this painting are achieved not only by great-granddaughter of the eighteenth-century painter Morisot’s work retained a feminine delicacy all of
the careful disposition of the two figures but also Jean-Honore Fragonard. She was taught by Edouard its own.
in the subtle harmonies of colours and delicate Manet (who became her brother-in-law) and the even
brushwork. The sensitive handling of textures, such light and directness of this work owe much to his
as the diaphanous veil draped over the crib and the influence. Later, she was to be heavily influenced by ► Cassatt, Corot, John, Manet, Renoir, Reynolds

Berthe Morisot, b Bourges, 1841. d Paris, 1895. The Cradle. 1872. Oil on canvas. h56 x w46 cm. h22 x wl 8 in. Musee d'Orsay, Paris
 Giovanni Battista Portrait of the Duke of Albuquerque

Splendidly regal, this man has been captured by no fear, and of death I have no terror’. It is an intimate length portrait (especially those depicting ordinary
Moroni in all his pompous dignity and luxurious and confident portrait, blending a striking realism with people) made him one of the leading exponents of
clothing. He is carrying a sword, which probably refers the artist’s love of rich colours and sumptuous effects this type of picture in the sixteenth century.
to his readiness to defend the honour of his family which he derived from the Venetian masters Giorgione
and city in times of conflict. This chivalrous attitude is and Titian. Free from unnecessary background detail,
further reflected in his restrained and proud bearing, the simplicity of the composition lends distinction
and also in the inscription on the wall: ‘Here I am with to the sitter. Moroni’s grandiose treatment of the full- ► Dossi, Giorgione, Kneller, Lotto, Titian

Giovanni Battista Moroni b Albino, 1520/5. d Bergamo, 1578. Portrait of the Duke of Albuquerque. 1560. Oil on canvas, hi 16 * w86cm. h455/e * w337/s in. Private collection
Motherwell Robert Elegy to the Spanish Republic No. 134

Broad, massive forms are dramatically applied in black As the title suggests it is one of the numerous works rather than narrative qualities epitomize their
paint on the white canvas. These heavy, slow-moving in the artist’s ‘Elegy’ series, inspired by the Spanish approach. Apart from his paintings, Motherwell also
shapes have engendered numerous and varied inter¬ Civil War. It has become one of Motherwell’s most made numerous drawings, prints and inspired collages
pretations — from phallic symbols to musical notes — renowned images. Married to fellow artist Helen of ripped paper which incorporate paint.
but none, in themselves, are totally convincing. The Frankenthaler, Motherwell was one of the principal
painting’s quality lies in its power to suggest so many members of the Abstract Expressionist movement.
rich and varied analogies, however diverse they may be. His spontaneity of technique and attention to formal ► Flovin, frankenthaler, Kline. Louis, Ryman, Soulages

Elegy to the Spanish Republic No. 134. 1974. Acrylic on canvas. h237.5 x w300cm. h93'/2 * wll8'/s in. Graham Gund Collection, Cambridge, MA
Robert Motherwell, b Aberdeen, WA, 1915. d Provincetown, MA, 1991.
 Moulins Master of Coronation of the Virgin

Elegantly dressed in rich red and blue velvet brocades, marvellous lyrical quality. This highly accomplished produced several theories about his identity. Some
the Virgin and Child are portrayed surrounded by artist was influenced by Hugo van der Goes and experts believe that he may have been the Court
angels and bathed in a mystical light. Behind them is adopted the restrained elegance of his Flemish painter to the French King, Charles VTII.
a fantastical visionary background, and a crescent contemporaries. One of the great French fifteenth-
moon lies at their feet. The Master’s refined technique century painters, he was named after his principal
brings out the luminous opulence of the jewels in the work, a triptych in Moulins Cathedral. Little is known
crown, and the elongated features of the Virgin have a about him, including his real name, which has ► Van Eyck, Van der Goes, Filippo Lippi, Van der Weyden

384

Master of Moulins. Active 1480-1500. Coronation of the Virgin. c!500. Oil on panel, h 157 * w!42 cm. h613A * w557/s in. Notre-Dame Cathedral, Moulins
Mucha Alphonse La Trappistine

As noble and spiritual as Joan of Arc, yet sensually advertising poster is an example of the stylish elegance flowing hair and flowers on slender twining stems.
provocative and appealing, a dream-like seductress of Art Nouveau, of which Mucha was one of the A prolific graphic artist, Mucha also designed jewellery,
stands resting her hand on a bottle of liqueur. chief exponents. The artists of the Art Nouveau style stained glass, furniture, stage sets and costumes. He
The round decoration surrounding her head like a attempted to blend all categories of art into a decor¬ spent much of his career in Paris, but returned to his
halo gives this temptress an almost divine appearance ative unity based on graceful, elegant linear forms. native Czechoslovakia in 1910.
of rare beauty. Delineated in elongated, curvilinear Mucha was largely responsible for popularizing many
strokes and coloured in pale, watery tones, this of the style’s key motifs, such as undulations of ► Klimt, Moreau, Munch, Toulouse-Lautrec

385

Alphonse Mucha, b Ivancice, 1860. d Prague, 1939. La Trappistine. 1897. Lithograph on paper. h206 x w77cm. h81 x w30'/3 in. Suntory Ltd Collection, Osaka
 Munch Edvard The Madonna

A mysterious sensuality draws us into this vibrant death, illness and nervous crises. Born in Norway, of his intense paintings made him a founder of
painting of the Madonna, daringly depicted in a pose he began his career painting in a more conventional the style known as Expressionism, in which emotive
of naked abandon. Uneasily provocative, she exudes manner but soon became interested in the work distortions and exaggerated colours are used to achieve
a challenging sexuality, but there is also an underlying of Vincent van Gogh and Paul Gauguin. Instead maximum expressiveness.
sense of tragedy in her deep black hair and dark eyes. of painting the world around him he began to seek
The swirling, tempestuous background seems to evoke to express his innermost feelings and desires through
a troubled soul. Munch’s own life was tinged with his art. The frenetic energy and simmering passions ► Bernini, Gauguin, Van Gogh, Kokoschka, Modigliani

386

Edvard Munch b Lote, 1863 d Oslo, 1944 The Madonna. 1894/5. Oil on canvas. h91 * w71 cm. h35% x w28 in. Nasjonalgalleriet, Oslo
Murillo Bartolome Esteban The Immaculate Conception of the Escorial

A visionary painting of deep piety and religious Madonna like an aureole. The composition follows and sentimental, reminiscent of the sixteenth-century
sentiment, this depiction of the Madonna in the the form prescribed by seventeenth-century Spanish Italian artist Correggio. His works were much in
heavenly realm was commissioned for the Hospital art theorists, but the painting is fired with Murillo’s demand throughout Europe and were widely copied
de los Venerables Sacerdotes in Seville. The softness own brand of spiritual devotion. Compared with the and imitated well into the nineteenth century.
of the brushwork and the delicate yet rich colouring, harsh, almost brutal realism and heightened emotions
bathed in a gentle light, imbue the composition of his Spanish contemporaries, Jusepe Ribera and
with tenderness. Swirling, playful putti surround the Francisco de Zurbaran, Murillo’s style is more tender ► Andrea del Sarto, Correggio, Ribera, Velazquez, Zurbaran

387

Bartolome Esteban Murillo, b Seville, 1618. d Seville, 1682. The Immaculate Conception of the Escorial. cl 678. Oil on canvas. h274 * wl90„cm. hi 08 * w7434 in. Museodel Prado, Madrid
 Nash Paul Dead Sea

This nightmarish image of a vast, static sea of wrecked destruction. It is one of Nash’s most compelling Romantics, who practised a strongly theatrical,
metal is an imaginative and visionary transformation statements as an official war artist to the Air Ministry romantic style of painting in the 1930s and 1940s. His
of a set of photographs taken by the artist at a dump in the Second World War, capturing the tragedy and artistic range included engravings, book illustrations,
for wrecked German aircraft near Oxford. Wings, triumph of those bitterly glorious years. Although industrial design and photography.
wheels and fuselage are discernible in this mass of influenced by Surrealism, Nash remained essentially
metal carnage. A bleak moonlight permeates the whole an artist of visionary landscapes. The dramatic content
scene and evokes an eerie atmosphere of death and of his work is sometimes associated with the Neo- ► Bomberg, Burra, Friedrich, Lewis, Wadsworth

388

Paul Nash, b London, 1889. d Boscombe, 1946. Dead Sea. 1940-1. Oil on canvas, h 101.6 x w152.4 cm. h40 x w60 in. Tate, London
Nauman Bruce Life Death, Knows Doesn't Know

Flickering neon lights flash words which are boldly be taken to represent the ambiguities inherent in association: the work of art has itself become the
written in coloured capital letters. A sense of wonder human communication and the multi-layered meanings message, presented in a pure and distilled form.
and enchantment is generated both by the medium, of worldly experience. The use of signs and symbols
through which the messages mysteriously appear like to convey ‘hidden’ meanings and messages has been a
judgements from on high, and by the words them¬ popular feature of art (especially in northern Europe)
selves, which flash on and off in arbitrary sequences. since the Middle Ages. Nauman takes this idea to
The overlapping phrases contradict each other and can its ultimate expression by means of representation and ► Beuys, Flavin, Merz, Oldenburg, Viola

Bruce Nauman. b Fort Wayne, IA, 1941. Life Death, Knows Doesn't Know. 1983. Neon tubing with clear glass suspension frames, diam.203.2 cm. diam.80 in. Anthony d'Offay Gallery, London
 Neel Alice Andy Warhol

The pale, fragile figure of Andy Warhol sits in was in his early forties. The psychological intensity figures. Eschewing artistic trends, she retained an
apparent contemplation, his eyes closed. His hands, of the portrait, as well as the apparent vulnerability unwavering commitment to her own distinct figurative
held firmly together, rest upon his lap. Warhol is of the sitter, is intensified by the lack of attention style throughout her life. During the 1970s she became
wearing a surgical corset. Across his abdomen stretch that Neel has awarded to the surroundings, which a celebrated figure among supporters of the
large scars, the result of gunshot wounds from an appear unfinished. In the 1950s Neel had been feminist movement.
assassination attempt two years earlier. Neel was closely associated with the left-wing cultural scene in
seventy when she painted this portrait; Warhol New York, painting portraits of some of its leading ► Clemente, Kokoschka, Schiele, Sutherland

390

Alice Neel b Merion Square, PA, 1900. d New York, NY, 1984. Andy Warhol. 1970. Oil on canvas, hi 52.5 x wlOl .5 cm. h60 * w40 in. Whitney Museum of American Art, New York, NY.
Newman Barnett Covenant

Austere in its restraint and direct in its simplicity, the spatial experience of pure colour; they make the intended that we should not only look at his paintings
a flat field of red is divided and ordered by two thin, picture plane almost open out before us. These stripes, but also sense the refined spirituality and mysticism
vertical stripes of brown and cream-white. Traditional which came to be known as ‘zips’, were to become suggested by their colours and sheer size. He was
artistic techniques have been discarded in favour a trademark of Newman’s style, making him one deeply influential on younger painters of the 1960s.
of creating a pure tension between the asymmetrical of the most minimalistic of the American Abstract
blocks of smooth colour. The arrangement of Expressionist painters. Rather than beauty, Newman
the stripes encourages the viewer to concentrate on sought to suggest a sort of mystical abstraction; he ► Flavin, Judd, Reinhardt, Rothko, Ryman, Serra

Barnett Newman, b New York, NY, 1905. d New York, NY, 1970. Covenant. 1949. Oil on canvas. h!21.9 * W152.4 cm. h48 * w60 in. Hirshhorn Museum and Sculpture Garden, Washington, DC
Nicholson Ben August 1956 (Val d'Orcia)

A series of lyrical, arabesque lines, typical of a white table set against a half-grey, half-brown a significant role in trie European avant-garde while
Nicholson’s work in trie 1950s, weave between some background. Nicholson was interested in trie innov¬ maintaining attachment to trie landscape and still-life
apparently abstract forms that on closer inspection ations of Cubism, where forms are split and viewed forms. His career spanned over sixty years, embracing
turn out to be everyday objects such as botdes, glasses, simultaneously from different angles, as well as in his revolutionary carved reliefs, paintings, drawings
plates and jugs. Only trie essence of trie flat, coloured the pure structural compositions of Piet Mondrian. and prints.
outlines has been captured, each reduced to a Both of these influences are synthesized in his
fragmented geometrical shape that is arranged on painting. A pioneer of abstract art, Nicholson played ► Braque, Hepworth, Mondrian, Morandi, W Nicholson, De Stael

Ben Nicholson b Denham, 1894 d London, 1982. August 1956 (Val d'Orcia). 1956. Oil and pencil on board, h 122 x w214 cm. h48 * w84 in. Tate, London
 icnoison Sir William The Lustre Bowl with Green Peas

On a white tablecloth is placed a simple lustre bowl, Nicholson revealed his unquestionable technical chosen for their aesthetic, rather than symbolic value.
its gentle luminosity beautifully set against the dark prowess. Whilst his still lifes are often formally very Nicholson was closely associated with many cultural
velvety background. To the foreground is a pile of simple, by juxtaposing objects and materials of figures of his day - including Whistler, who
green peas, their reflection captured in the surface contrasting tones and textures, Nicholson created encouraged him to paint — yet he chose not to align
of the bowl. An accomplished and respected painter arrangements that convey a rich sensuality. Although himself with artistic movements. His eldest son was
of portraits and landscapes, as well as a successful some of the objects selected by the artist may have had the artist Ben Nicholson.
graphic artist, it was in his still life compositions that some personal significance, they were predominantly ► Chardin, Morandi, B Nicholson, Orpen, Whistler

Sir William Nicholson, b Newark-on-Trent, 1872. d Blewbury, 1949 The Lustre Bowl with Green Peas. 1911. Oil on canvas. h55 * w60 cm. h21V^*w23% in. Scottish National Gallery of Modem Art, Edinburgh
 Noguchi Isamu Stone of Spiritual Understanding

Suspended in mid-air like a gravity-defying, magical Noguchi) ascribes such principles to natural objects. dynamism, of which the material itself is the essence.
object, a solid bronze stone exudes the vitality and Noguchi believed sculpture to be ‘the perception In addition to sculpture Noguchi concerned himself
palpable presence of the forces of nature. Its sheer of space, the continuum of our existence’. Working with theatre and costume designs, garden plans and
rawness is presented unashamedly, as if to assert briefly with Constantin Brancusi (from 1927 to 1928), even playground facilities.
that the stone’s inner qualities are more significant he derived much of his inspiration from the older
than anything it could be carved, or cast, to represent. sculptor’s work. His own sculptures, however,
Buddhist philosophy (which strongly influenced are invested with a new elemental and primordial ► Bourgeois, Brancusi, Colder, Kapoor, Moore, Smith

394

Isamu Noguchi b Los Angeles, CA, 1904. d New York, NY, 1988. Stone of Spiritual Understanding. 1962. Bronze, wood and metal, hi 33 cm. h52’A in. Museum of Modern Art, New York, NY
Nolan Sir Sidney Gray Sick

A bearded man, with his hands clenched and an Australia. Although the expedition completed its describing the lives of explorers and the toll of the
intense expression on his face, is secured to the objective it was badly organized and ended in disaster. forces of nature upon them. He also painted a series
back of a camel with rope. The relentless heat and Charles Gray, one of the explorers, suffered from of paintings of the notorious bushranger Ned Kelly.
scorching desert are evoked by the cloudless, severe headaches and dysentery and had to be lashed Nolan is widely recognized as the leader of the
oppressive blue sky and the ridges of eroded earth to the saddle of his camel; he died at sunrise on 17 modern Australian school of painting.
underfoot. In August i860 a group of eighteen April 1861. In 1949 Nolan travelled from his native
men left Melbourne on the first expedition to cross Melbourne to paint in the outback of Queensland, ► Boyd, Cole, Kitaj, Marini

Sir Sidney Nolan, b Melbourne, 1917. d London, 1992. Gray Sick. 1949. Enamel and oil on board. h92 * wl20 cm. h36 * w47 in. Collection of Lord McAlpine ofWestGreen
 Noland Kenneth Gift

Concentric circles of paint surrounded by bare canvas achieve maximum visual intensity. He was one precisely centred image, which generates no physical
create the image of an apparendy spinning target. of the first artists to exploit the possibilities of bare or emotional reverberation beyond itself. Noland often
This illusion of movement is produced by the irregular canvas in this way. The technique of staining adds painted in series, using the same motif recurrently.
staining caused by the paint as it is absorbed into the a visual ambiguity: the paint actually becomes part These included the target, chevron and lozenge shapes.
unprimed canvas. Concentrating the effect of colour of the weave of the canvas. This painting is connected
by using a thinned acrylic paint for this staining, to the Post-Painterly Abstractionist movement in
Noland leaves a large area unpainted in order to its exploitation of the flat canvas surface and in the ► Albers, Frankenthaler, Louis, Ryman, Stella

396

Kenneth Noland b Asheville, NC, 1924 d Port Clyde, ME, 2010. Gift. 1962. Acrylic on canvas, hi 82 * wl 82 cm. h72 * w72 in. Tate, Londoi
Nolde Emii Red Poppies

Watery splotches of colour seem to float across he was perhaps the most powerful. His goal was to condemned by Hitler as a menace to society and offi¬
the paper. The shapes of the poppies and their vivid ‘grasp what lies at the very heart’ and ‘transform cially prohibited to paint, draw or produce any kind of
red colour are the most important elements of nature by infusing it with one’s own mind and spirit’. art whatsoever. He nevertheless continued to do so
the composition. Nolde trained as a furniture-maker, Common subjects for Nolde included Biblical scenes and lived and worked in Germany for the rest of his life.
turning to painting later in his career. Most of his and landscapes, many of which were based on the
works are imbued with the deep emotions character¬ expression of his own beliefs. He was initially swept
istic of the German Expressionist artists of whom up by the nationalism of the Nazis, only to be ► Ensor, Modersohn-Becker, Pechstein, Vlaminck

Emil Nolde. b Nolde, 1867. d SeebOll, 1956. Red Poppies. cl920. Watercolour on paper. h34.3 * w48.3 cm. hl3Vi * w!9in. Leonard Hutton Galleries, New York, NY
O'Keeffe Georgia Radiator Building

Rising above the dusky street-lights of a New York the vaporous emanation on the right. Balancing clear, simple forms, bordering on naivety, and
night and topped by a gleaming, decorative pinnacle, this on the left is a glowing red horizontal band with unconventional choice of subject matter, made her
a tall skyscraper towers over the surrounding buildings. neon light. O’Keeffe’s work is sometimes termed a pioneer of a new modernism in the USA.
Its slender form is punctuated by the bright lights of ‘Precisionist’ because of its machine-like clarity.
the windows, giving it the appearance of a glittering As well as simplified renditions of urban architecture
jewel in the night sky. A strange light projects upwards she is known for her paintings of mountains, bones
from behind, illuminating the misty, wintery sky and and flowers - the latter often on a giant scale. Her ► Davis, Estes, Hopper, Sheeler, Stieglitz

Georgia O'Keeffe b Sun Prairie, Wl, 1887 d Santa Fe, NM, 1986. Radiator Building. 1927. Oil on canvas, hi 21.9 x w76.2 cm. h48 x w30in. Fisk University, Nashville, TN
Oldenburg Claes Giant Hamburger

Absurd and kitsch, this massively over-sized version sculpture being solid and hard. Oldenburg was an at meteoric speed, in the 1960s. In 1964 Oldenburg
of a twentieth-century icon evokes a sense of American Pop artist concerned with making art established a shop in Green Street, New York,
incredulity. The artist’s desire to imitate and displace from materials and products from the commercial from which he sold painted plaster replicas of food
one of the most potent symbols of American culture environment. He wanted his art to reflect and other commodities.
enhances its power and impact. Not only in its contemporary, everyday life in all its complexity
unconventional subject matter but also in its soft and change. This work clearly takes its cue from the
form it crushes all preconceived notions of traditional American ‘fast-food’ empire that was developing, ► Dine, Duchamp, Hamilton, Lichtenstein, Segal, Warhol

399

Claes Oldenburg, b Stockholm, 1929. Giant Hamburger. 1962. Printed sailcloth stuffed with (oam. hi 32 * w213 cm. h52 * w82% in. Art Gallery of Ontario, Toronto
 Orcagna Saint Matthew and Stories from his Life

Both the central figure in this painting - Matthew, ized, colourful and highly patterned, but they do not di Cione) was the main master, but he died before
the patron saint of Florentine bankers - and the use have the realism and depth evident in the work of the work was finished. It was completed, in his style,
of gold leaf, allude to the Bankers’ Guild who Giotto (Orcagna’s artistic predecessor in Florence) by his younger brother Jacopo, who was a member
commissioned this work to adorn the church of or in later works. As was customary, this painting was of the workshop.
Orsanmichele. This style of painting, called ‘gold a collaboration between the master and his assistants,
ground’ because of its background, is typical of working in a single workshop. In this case, Orcagna
fourteenth-century Florence. The figures are ideal¬ (local slang for ‘archangel’ — his real name was Andrea ► Duccio, Giotto, Masolino, Lorenzo Monaco

400

Orcagna (Andrea di Cione). b Florence, cl320. d Florence, 1368. Saint Matthew and Stories from his Life. cl367. Tempera on panel. h291 * w265% cm. hi 14% * wl04% in. Galleria degli Uffizi, Florence
Organ Bryan Prince Charles

The Prince of Wales sits in a relaxed pose, dressed in with the pomp and ceremony associated with his of character, Organ was also the first non-French
casual clothes in front of a green fence. Painted almost position, but as an intelligent, aware and sensitive man citizen to be commissioned to paint a French President
entirely of blue and green, only a few elements in the who has just finished a friendly game of polo. In the (Francois Mitterrand).
painting are not in these two colours - the Union Jack, 1970s Organ was commissioned to paint the portraits
the Prince’s face, and his boots and shirt collar. Organ of four members of the British royal family, three of
revolutionized the traditional approach to portraits which now hang in London’s National Portrait Gallery.
of the monarchy. He has not chosen to depict his sitter A consummate draughtsman and insightful portrayer ► Hockney, Kauffmann, Richter, Sutherland

401

Bryan Organ, b Leicester, 1935. Prince Charles. 1980. Acrylic on canvas, hi77 * wl78 cm. h70 * w70'/s in. National Portrait Gallery, London
 Orozco Gabriel La DS

A car has been cut lengthways into three sections; the artist for inclusion in his first solo show in Paris, his outlook, Mexican-born Orozco’s eclectic approach

the middle part removed, and the remaining sections Orozco selected the DS with an awareness of the to making art resists a straightforward categorization.

seamlessly reassembled. Through this modification iconic status awarded to this model of Citroen in Often displaying a perceptive employment of humour,

the artist encourages us to look anew at a familiar France. During the exhibition - contrary to art gallery he works across a range of media including drawing,

object. Whilst the physical alterations to the vehicle conventions — visitors were encouraged to touch, sculpture, painting, photography, video and installation.

are substantial, the classic design is still instantly or even sit inside the car (one seat remains in the front,
recognizable; its appearance accelerated. Made by and one in the back). Conspicuously international in ► Broodthaers, Cattelan, Dali, Duchamp, Oldenburg

402
 Jose Clemente Modern Migration of the Spirit

This sensational image is a scene from Orozco’s large and masonry. The evocative message seems to be that since the Mexican Revolution of 1910. He was a
fresco portraying Christ as a militant revolutionary the all-powerful Creator-Destroyer figure of Christ politically committed artist and promoted the cause
destroying his cross. A mountainous junk heap is calling for the total destruction of the prevailing of peasants and workers by painting large murals
of various remnants of modern civilization rises up forms of modern politics, religion and society. depicting scenes from the life and history of the
behind him. While creating this work, the artist The Expressionist nature of this fresco is implicit in Mexican people.
developed a technique which evolved from his its principal theme of dramatic upheaval and change,
meticulous study of ancient Mexican mural paintings subjects which Orozco had been passionate about ► Botero, Grtinewald, Rivera, Rouault, Siqueiros, Tamayo

403

Jose Clemente Orozco, b Zapotlan el Grande, 1883. d Mexico City, 1949. Modern Migration of the Spirit. 1933. Fresco. Dartmouth College, Hanover, NH
 Orpen Sir William The Cafe Royal in London

Under the glittering ceiling of a fashionable meeting- Orpen has diluted this stiffness by depicting two of portrait where the sitters are engaged in some everyday

point for well-to-do Edwardians, a congregation of the figures chatting between tables. A highly acclaimed occupation. One of the most famous of these is his
successful artists gathers together. The stiff demeanour society portraitist in his day, Orpen owed his success Homage to Manet, with Walter Sickert and other artists

and elegant dress-code give a sense of formal to his confident style and precise, angular technique grouped in front of Edouard Manet’s Portrait of
bohemianism to this group portrait of Orpen and which captured the often haughty, ‘upper-crust’ Eva Gonzales.
his friends, which includes the artists Augustus John, Edwardian character of his sitters. Orpen specialized
William Nicholson, James Pryde and Alfred Rich. in ‘conversation pieces’, which was a type of group ► Bazille, Manet, W Nicholson, Renoir, Sargent, Sickert

404

Sir William Orpen. b Stillorgen, 1878 d London, 1931. The Cafe Royal in London. 1912. Oil on canvas, hi 38 * wl 14 cm. h54'/3 * w44% in. Musee d'Orsay, Parisa
Van Ostade Adriaen Interior with Peasants

In a cluttered interior, a mother and child sit by the instruments of hard labour for the poor. The of which featured peasants in interiors. In his later
a window as three boorish men carouse noisily in baby’s refusal of its mother’s food may refer to a works, his palette became more colourful and his
the background. The household is clearly one of great moral message (“Poverty comes to those who refuse peasants better behaved and their rooms tidier. One
poverty, emphasized by the mussel- and egg-shells what is offered to them’) although the overall tone of his pupils was Jan Steen, who also depicted this
strewn around the untidy floor. Other objects in the of the painting is more decorative than moralizing. type of popular subject matter.
scene, such as the spinning-wheel and wool-winding Ostade was a prolific artist who specialized in painting
frame, represent not the pastimes of the idle rich but scenes from daily life (called ‘genre’ paintings), many ► P Bruegel, De Hooch, Rembrandt, Steen, Vermeer

Adriaen van Ostade, b Haarlem, 1610. d Haarlem, 1685. Interior with Peasants. 1663. Oil on panel. h34 * w40 cm. hl3V4 * wl5% in. Wallace Collection, London
 Overbeck Johann Friedrich The Adoration of the Magi

Figures based on simple geometric forms; a landscape sought to recreate their style. This work is even painted the spirit of early Medieval religious brotherhoods,
which recedes into a hazy distance; colours dominated on a wood panel, in the manner of a Renaissance and set up their workshop in an abandoned cloister.
by the blue and gold robe of the Virgin and the altarpiece. After 1810, Overbeck left Germany for Their work was influential on the Pre-Raphaelite
subject of the Adoration: all are elements more Rome where he was better able to study the masters he Brotherhood in England.
appropriate to a fifteenth-century Italian altarpiece so admired. There he converted to Roman Catholicism
than a nineteenth-century German painting. Overbeck and co-founded an artistic group which became known
idolized the artists of the Italian Renaissance and as the ‘Nazarenes’. The Nazarenes aimed to revive ► Fra Angelico, Brown, Gentile da Fabriano, Gozzoli

406

Johann Friedrich Over beck, b Lubeck, 1789 d Rome, 1869. The Adoration of the Magi. 1813. Oil on panel. h49.7 x w66 cm. hi 916 * w26 in. Kunsthalle, Hamburg
Palma Vecchio The Holy Family with Mary Magdalene and the Infant Saint John

Colour and light effects are as important to this of Giorgione. Like the older artist, Palma Vecchio altarpieces depicting the Virgin and Child surrounded
painting as its subject. The tones in the Virgin’s robe, specialized in the placement of a religious subject in by saints (a composition called a sacra conversazione).
for example, fluctuate from dark to light red as the an idyllic, pastoral setting. These often featured plump, His most famous is the Santa Barbara altar in Santa
garment drapes over her knees. In contrast to this sweet-faced blonde women, who became a hallmark Maria Formosa, Venice.
realistic depiction, the Virgin’s face is idealized into a of the artist’s style. He was an accomplished portrait
cherubic image. These characteristics are deeply rooted painter and also received a large number of eccle¬
in Venetian painting and follow the painterly tradition siastical commissions. These included several large ► Giorgione, Michelangelo, Sebastiano del Piombo, Titian

Palma Vecchio. b Serina, c!480. d Venice, 1528. The Holy Family with Mary Magdalene and the Infant Saint John. c!520. Oil on panel. h87 x wl 17cm. h34'/„ * w46 in. Galleria degli Uffizi, Florence
 nnini Giovanni Paolo Roman Capriccio

Pannini has combined a selection of Rome’s ancient in the foreground. Born in Piacenza, Pannini moved output of work became very popular among tourists,

monuments in one image, creating a celebration of to Rome where the city’s impressive ruins inspired equal in some ways to the views of Venice by
its glorious past. The circular building to the left is the him to paint views of historical events, scenes of Canaletto, whose style was at first similar to his own.
Colosseum, with Trajan’s column standing in front; contemporary life, and imaginary combinations
at its base is the figure of the Dying Gaul. On the of actual buildings, but in the wrong context (such
right stand the Arch of Constantine in the background as the work shown here). He was the first painter
and a set of three free-standing Corinthian columns to specialize in views of this kind and his enormous ► Canaletto, Guardi, Poussin, Siberechts

Giovanni Paolo Pannini. b Piacenza, c!692. d Rome, 1765. Roman Capriccio. 1734. Oil on canvas. h97.2 * wl34.6 cm. h38l4 x w53 in. Maidstone Museum and Art Gallery, Maidstone
 Parmigianino The Madonna with the Long Neck

The elongated, languid features of the Virgin, Child is often called Mannerism, because of its conscious from where he took his name - Parmigianino spent
and attendant angels were purposefully exaggerated stylization and attempt to rework the balanced most of his life working there. This painting, however,
by the artist — hence this painting’s popular title. proportions of the Renaissance. Parmigianino’s elegant was made after he had spent some time in Rome,
Parmigianino has taken the static harmony associated and intimate paintings exemplify the early Mannerist where he studied the work of artists such as Raphael.
with fifteenth-century paintings, such as those by style. He usually used compositions with a few figures,
Raphael and Perugino, and infused the composition rather than crowd scenes, so as to lay emphasis on the
with a new vibrancy and movement. This tendency grace and languor of his figures. A native of Parma - ► Correggio, El Greco, Pontormo, Raphael, Signorelli

Parmigianino, b Parma, 1504. d Casalmaggiore, 1540. The Madonna with the Long Neck. cl534-40. Oil on panel. h219 * wl35 cm. h86'/. * w53'/s in. Galleria degli Uffizi, Florence
 Patinir Joachim Saint Jerome in a Rocky Landscape

Fantastic geological structures dominate this visionary Patinir has unified light, atmosphere and physical extraordinary blend of fantasy and naturalistic detail
landscape, which has been conjured up from Patinir’s elements to create what must be one of the earliest they anticipate the works of Jan Bruegel in particular.
fertile imagination. The grand, sweeping vista is real landscape paintings - a genre whose popularity
punctuated by tiny figures and architectural confections. has never dimmed. The smooth finish and technical
Carefully observed and sensitively depicted, the detailed perfection of the painting are typical of Patinir’s
topography of the scene makes it a convincing setting style. His naively imaginative landscapes had a great
for the diminutive figure of the hermit saint to inhabit. and lasting influence on Flemish painting; with their ► Altdorfer, Antonello, J Bruegel, Van Eyck, Leonardo, Reni

Joachim Patinir b Place unknown, cl485. d Antwerp, 1524. Saint Jerome in a Rocky Landscape. cl515-24. Oil on panel. h36 x w34cm. hl4Vi x wl3Vi in. National Gallery, London
Pechstein Max Hermann Meadow at Moritzburg

All elements of this townscape are exaggerated. The deliberately ignored the realities of the natural world in and less profound than those from other artists in
perspective is distorted, the buildings and figures are search of a more expressive type of art. Pechstein was the group, such as Ernst Ludwig Kirchner. His vibrant
reduced to basic shapes while the vivid pinks, blues, part of a group of artists with similar, Expressionist, sense of colour was greatly influenced by the work
greens and yellows heighten the emotion of the scene. goals who linked themselves in a movement called ‘Die of Henri Matisse and other Fauvist painters.
The paint has been applied to the canvas in varying Briicke’ (‘the bridge’). Pechstein was one of the first
degrees of thickness. At times it is so thin that the artists of this group to achieve popularity. Perhaps this
white canvas shows through the paint. The artist has is because his paintings tended to be more decorative ► Heckel, Kirchner, Matisse, Nolde, Schmidt-Rottluff

h70.2 x w80.3 cm. h275/s x w31% in. Leonard Hutton Galleries, New York, NY
Max Hermann Pechstein, b Zwickau, 1881. d Berlin, 1955. Meadow at Moritzburg. 1910. Oil on canvas.
 Grayson The Rosetta Vase

The surface of a yellow vase has been decorated titled ‘THE ARTIST’; its various body parts carrying between art and craft. Perry’s works present a twenty-
with a rich arrangement of words and images. From phrases such as ‘fantasy world’, ‘Career Enhancement’ first-century reworking of the ceramic tradition.
the branches of a tree - which has been tided ‘The and ‘Vanity’. Although the vases produced by Perry The title of the present work alludes to the ancient
Institution’ - we can read the statements ‘MUSEUM are at first glance very charming, the provocative, witty Egyptian Rosetta Stone, an object that was key to the
AS CATHEDRAL’, ‘THE CULT FOR MODERN and, at times, crude captions and images that adorn modern translation of hieroglyphs.
ART’ and ‘COLONIALISM’. On the opposite them challenge any initial presumptions that these are
side of the vessel appears an image of a small child, solely decorative objects. Straddling the boundary ► Cragg, Gilbert and George, Hiroshige, Walker

412

Grayson Perry b Chelmsford, 1960. The Rosetta Vase. 2011. Glazed ceramic. h78.5 * w40.7 cm. h31 * w26 in. Private collection
Perugino The Virgin and Child with Saints

Altarpieces with a Virgin and Child surrounded by the teeth in an attempt to get her to renounce the Perugino worked throughout Italy, especially in
patron saints of a family often adorned family chapels. Christian faith. The gracefully elongated, rather Umbria, but is perhaps best known as the teacher
Here the saints Michael the Archangel, Catherine sentimentalized figures, with drooping postures and of Raphael whose early works are very close to his
of Alexandria, Apollonia and John the Evangelist are tilted heads, are typical of Perugino’s style. As was master’s style.
included, each identifiable by his or her attributes, customary at the time he generally employed simple
representative of the saint’s life. Apollonia, for example, compositions, such as the arrangement used here with
holds the forceps that were used to pull out all her the Virgin and Christ above and four saints below. ► Andrea del Sarto, Della Quercia, Raphael, Signorelli

413

Perugino (Pietro Vannucci). b Citto della Pieve, 1445/50. d Fontignano, 1523. The Virgin and Child with Saints. cl500. Oil on panel. h273 * w21\ cm. hl07V4 * w83 in. Pinacateca Nazianale, Bologna
 Picabia Francis Amorous Parade

There is nothing inherently erotic about this the noisy thrashing of love-making. In its playful together with Marcel Duchamp helped create a Dadaist

machine, but its title triggers our imagination. Within ambiguity it displays Picabia’s innovative and unusual group in the USA. He later turned to Surrealism, and

moments, the gangling apparatus has become charged imagination, which has invested an inanimate, un¬ in the 1920s and 1930s produced a remarkable series

with sexual connotations of a hilarious, yet unsettling, erotic object with sexual undertones. This irrational of collages.
nature. This fantastic, complex contraption is primarily and absurd humour connects the painting with the
intended as a comment on man’s activities and non-conformist Dada movement. Picabia was a leading
experiences. It could be interpreted as a parody of figure in this anti-art, anti-reason movement, and ► Davis, Duchamp, Grosz, Hausmann, Leger

414

Francis Picabia b Paris, 1879. d Paris, 1953. Amorous Parade. 1917. Oil on canvas. h96.5 x w73.7 cm. h38 x w29 in. Private collection
Picasso Pablo Weeping Woman

The searing emotion of grief experienced by this monumental painting Guernica, executed in the same Georges Braque was the inventor of Cubism, executed
distraught woman is reflected with great intensity in year, which portrays the massacre of women and an immense body of work through his long and much
the harsh colours and rigid paint-strokes. The viewer’s children in the Spanish Civil War. The work shown publicized life. Born in Spain, Picasso moved to Paris
attention is immediately focused on the cold blue here is one of the most expressive examples from in 1901 and spent the rest of his life in France. He is
and white area around her mouth and teeth; her eyes a series by Picasso entitled “Weeping Women’. The way considered the greatest artist of the twentieth century.
and forehead are dislocated — literally broken up with the woman’s face has been distorted and fragmented
sorrow. The figure echoes those of Picasso’s is a development of Cubist ideas. Picasso, who with ► Boccioni, Braque, Gris, Jawlensky, Kupka, Leger

Pablo Picasso, b Malaga, 1881. d Mougins, 1973. Weeping Woman. 1937. Oil on canvas. h60.8 * w50cm. h24 x wl95/« in. Tate, London
Piero della Francesca The Procession of the Queen of Sheba

This quiet detail of a larger fresco shows the fifteenth-century painting, their calm, beauty and rich foreshortening of the body of the white horse. The

Queen of Sheba, accompanied by her handmaids clothing evoking a scene of serene adoration. Piero story of the Queen of Sheba’s meeting with Solomon

and courtiers, kneeling in veneration at the rough was one of the most rigorously mathematical artists was thought during the Middle Ages to allegorize

wooden bridge across the river Siloe, which she has of the Renaissance, and his fascination with geometry the marriage of the Church and Christ, and to be

miraculously recognized as being made from the and perspective is shown here in the harmonious proof of the triumph of Christianity over paganism.

tree that grew on Adam’s grave. The figures of the grouping of geometric forms against a landscape
ladies-in-waiting are among the most graceful in all of sublimely tranquil colours, and in the masterful ► Fra Angelico, Filippo Lippi, Massaccio, Uccello

Piero della Francesca, b Borgo Santo Sepulchro, c!415. d Borgo Santo Sepulchro, 1492. The Procession of the Queen of Sheba. cl450s. Fresco. h336 * w747cm. hl30 x w294 in. Basilica di San Francesco, Arezzo
Piero di Cosimo Perseus Freeing Andromeda

Fantastic, curly crests of waves echo the horror of that the owner was acquainted with Ancient texts, is reputed to have eaten nothing but hard-boiled eggs
the monster attacking Andromeda who is chained which were enjoying a fashionable revival at this time. - which is an unlikely tale. He also worked on designs
to a rock. Racing to the rescue of his true love, Perseus This work is one of a series which once hung in for masques, festivals and processions.
is first depicted flying into the scene from the right, the palace of the Strozzi family in Florence. Piero
and later standing on the monster’s back, poised to di Cosimo often depicted his subjects in a bizarre
slay the beast. Subjects from Classical mythology were fashion, which led to rumours of his own eccentric
popular in Renaissance painting because they implied behaviour. He lived for many years as a recluse and ► Botticelli, Perugino, Pollaiuolo, Raphael, Signorelli

417

Piero di Cosimo. b Florence, 1461/2. d Florence, 1521. Perseus Freeing Andromeda. c!513. Oil on panel. h70 * wl23 cm. h27V4 * w48% in. Galleria degli Uffizi, Florence
 Pietro da Cortona Glorification of the Rule of Urban VIII

Painted on the ceiling of one of Rome’s most sump¬ This type of perspective, known as sotto in su sense of mass and gravity is dissolved in the sparkling
tuous palaces, this ambitious fresco is a celebration of (Italian for ‘up from under’) is typical of Baroque colours and brilliant light, making this one of the great
the powerful and noble Barberini family. It also repres¬ ceiling decoration. The spectator’s attention is quickly masterpieces of Baroque art.
ents an allegory of Divine Providence. The daunting channelled by the swirling fluidity of the design to
grandeur of this composition is based around an its focal point, where angels carry the papal tiara and
illusionistic architectural structure, which is seen from St Peter’s keys - representing the Papacy of Urban
below, with the sky appearing to open out above. VIII, himself a member of the Barberini family. All ► Bernini, Domenichino, Giordano, Guercino

418

Pietro da Cortona (Pietro Berrettini). b Cortona, 1596. d Rome, 1669. Glorification of the Rule of Urban VIII. 1633-9. Fresco. Palazzo Barberini, Rome
Piper Adrian Cornered

This video installation, comprising a television screen argues that most Americans, as a result of widespread well as an artist. Her intimate and unsettling
on which is played a recording of Piper’s performance, miscegenation, are part black, and demands to performances are about raising consciousness — of
first literally entraps the artist and then figuratively know what we, the viewers, intend to make of that racism and, peripherally, sexism and class — and her
corners the audience. Piper sits behind a desk backed knowledge. Will we continue to accept the status quo, interrogatory (some might say hectoring) method
into a corner. She is seemingly confined by the desk, or begin to live differently? Like much of her work, is intended to make the viewer confront his or her
the upturned table in front of it and the chairs in front the piece is blunt, uncompromising and didactic - own hidden prejudices.
of that. She calmly declares, ‘l am black.’ She then for Piper has been a professor of philosophy as ► Holzer, Kruger, Rist, Sherman, Walker

Adrian Piper, b New York City, 1948. Cornered. 1988. Table, chairs, monitor, two framed birth cerificates of Adrian Piper's father, lighting. Museum of Contemporary Art Chicago, IL
Piper John Holkham, Norfolk

Solid architectural forms are highlighted in bright almost abstract form. Piper experimented with abstract British war artist and in that capacity produced a

yellow, white and pink, beneath a dramatically stormy art in the 1930s but, disillusioned with the limitations number of watercolours depicting the bombed areas

sky. The water in the foreground reflects the sketchy of non-representational painting, had returned to a of Bath and Coventry. A versatile artist. Piper worked

buildings and a fountain. Sombre tones evoke a more naturalistic approach by the time this picture was in fields as varied as book illustration, stained glass,

brooding feeling, with the charged emotional content painted. His deeply personal style is characterized by a textiles and theatre design.

of the English Romantic landscape tradition. The synthesis of Romanticism and topographical accuracy.
composition has been reduced and distilled into an During the Second World War he was an official ► Bonington, Cozens, Nash, Siberechts, Turner

John Piper, b Epsom, 1903. d Fawley, 1992. Holkham, Norfolk. 1939. Oil on canvas mounted on panel. h51 x w76 cm. h20 x w30 in. Private collection
Pisanello Ginepro d'Este

Her hair pulled back to reveal a high forehead, and in profile, a pose which recalls the artist’s skills as conforming to the decorative conventions of the time,
dressed in an elaborately embroidered gown, this a portrait medallist. The profiles in his medals were demonstrate a lively interest in the realistic depiction
elegant woman is portrayed as being at the height of as crisply rendered as in this painting. Such natural of nature.
fashion. She is identifiable as a member of the noble details as the flowers and butterflies are typical of
Este family of Ferrara from the pattern on her sleeve. the International Gothic style, of which Pisanello was
The sprig of juniper (ginepro in Italian) pinned to her the main Italian exponent after Gentile da Fabriano.
shoulder, alludes to the sitter’s first name. She is shown His numerous drawings of animals, although ► Gentile da Fabriano, Ghirlandaio, Mantegna

421

Pisanello (Antonio Pisano), b Pisa, c!395. d Place unknown, c!455. Ginepro d'Este. c!436-8. Tempera on panel. h43 * w30cm. h!7 * w!2 in. Musee du Louvre, Paris
 Pisano Andrea Saint John the Baptist

Sculpted with a delicacy of line and lyrical fluency, meticulous detail to the figures, which have been Ghiberti.) Each scene is set within a quatrefoil frame,

this bronze relief shows St John baptizing a group of executed with elegant, curving swathes of drapery. a fashionable form imported from Gothic France. Fie

people in the River Jordan. Behind him is a mountain This panel comes from the first of three sets of doors influenced Donatello, Ghiberti and Luca della Robbia.

with trees, completely out of scale but conveying made for the Baptistry at Florence, for which Pisano
the setting successfully within the limited space. sculpted twenty-eight scenes from the life of the
Pisano probably trained as a goldsmith. Such a skill Baptist, the city’s patron saint. (The other two sets of
would have enabled him to apply refinement and doors were made in the fifteenth century by Lorenzo ► Ghiberti, Giotto, Piero della Francesca, Della Quercia

422

Andrea Pisano b Pontedera, c1290. d Orvieto, 1348. Saint John the Baptist. 1330/3. Gilt bronze. h50 * w43 cm. hl93A * wl6% in. Battistero di San Giovanni, Florence
Pissarro Camille Landscape at Chaponval

This tranquil landscape embodies the bucolic of Camille Corot, is enhanced by the skyline landscape, in the West Indies, Pissarro arrived in Paris in 18; 5
peacefulness of the countryside. Vibrant hatching which is depicted in a series of horizontal bands with where he became a prolific artist and a key figure in the
strokes have been used to enliven the painting’s very litde sky showing. These bands, made up of field, Impressionist circle. He was the only artist to exhibit
surface. With a very simple subject and a restricted houses and sky, seem almost to sit on top of one at all the Impressionist exhibitions.
palette of colours, Pissarro has achieved a range of another. His reduction of the landscape to a spont¬
subde effects. A feeling of intimacy and direct personal aneous, intricate web of rapidly applied pure tones is
contact with the scene, reminiscent of the paintings typical of the experiments of the Impressionists. Born ► Boudin, Cezanne, Corot, Daubigny, Monet, Sisley

423

Camille Pissarro, b St Thomas, 1830. d Paris, 1903. Landscape at Chaponval. 1880. Oil on canvas. h54 * w65 cm. h21'/s * w25>/2 in. Museed'Orsay, Paris
Poliakoff Serge Abstract Composition

A series of flat, two-dimensional planes of colour This controlled, expert handling of the paint (ground achieved fame when he was awarded the Kandinsky

interpenetrate in a lyrical formation. The geometric by the artist himself), combined with the positioning Prize for painting in 1947, from which time he
composition is defined by the shape of the canvas; of the intersecting abstract forms of colour, make progressed steadily towards his foremost position

this is apparent in the artist’s quartering of the dom¬ this picture an important example of the post-war Art among the abstract painters of the Ecole de Paris

inant forms of colour. Poliakoff’s mastery of the Informel movement. A Russian emigre who came to in the 1930s.
brush is demonstrated by the multiplicity of hues that Paris in 1923 with his aunt, the singer Nadia Poliakoff,
have been incorporated within each colour section. he began his first abstract compositions in 1937. He ► Delaunay, Riopelle, Soulages, De Stael, Vieira da Silva

Serge Poliakoff, b Moscow, 1906 d Paris, 1969. Abstract Composition. 1952. Oil on canvas. h89 * wl30 cm. h35 x w5l'/8 in. Archives Serge Poliakoff, Paris
 Sigmar Three Girls

The female nude is represented by a chorus line of Richter and others he formed a German branch of Polke’s subject matter is often provocative: his
strippers, their fetishistic stilettos crushing a male the Pop art movement then emerging in Britain and paintings of the 1970s and 1980s, with their images
underfoot. His impotence is symbolized by a flightiess the USA. He boldly combined the atmospheric of concentration camps and traces of bodily fluids,
bird. Conventional fine art images — the supine nude, colour experiments of Abstract Expressionism with confront the taboo of Germany’s wartime history.
and the knight triumphant over the serpent - are photography, and graphics appropriated from comic
transposed into soft porn. Polke left East Germany books and pulp fiction. His work demolishes the
for Diisseldorf in the 1960s. Together with Gerhard barriers between ‘high’ art and ‘low’ popular culture. ► Baselitz, Jones, De Kooning, Sherman, Wesselmann

425

Sigmar Polke b Oelsnitz, 1941. d Cologne, 2010. Three Girls. 1979. Mixed media.on paper. h99.8 x w69.9 cm. h39% x w27'h in. Anthony d'Offay Gallery, London
 Pollaiuolo Antonio Apollo and Daphne

Daphne is seen in the process of transforming herself this painting was ever set into a piece of furniture. which he explored the human form in a variety of
into a laurel tree in order to escape from Apollo. Antonio and his brother Piero were important positions. Fascinated by anatomy, he was one of
(Smitten with her, he subsequently wore a laurel wreath Florentine goldsmiths, sculptors and painters who the first artists to dissect the human body in order
in deference to her memory.) This small scene is executed commissions for the city of Florence and to understand its inner workings and structures.
painted in a delicate, jewel-like manner. Mythological its cathedral, and for prominent Florentine families
paintings of this size often adorned chests or cup¬ such as the Medici. Antonio is also famous for
boards in Renaissance Florence, but it is not clear if his engravings, especially the Rattle of the Nudes in ► Botticelli, Raphael, Van Scorel, Verrocchio

426

Antonio Pollaiuolo, b Florence, c1432. d Florence, 1498. Apollo and Daphne. cl470. Oil on panel. h29.5 * w20 cm. hi 1 Vs * w7% in. National Gallery, London
Pollock Jackson Number la, 1948

Pollock’s violent method of dripping and smearing painting. Pollock’s highly innovative technique became paintings are not as random as they may seem;
paint onto the canvas in dramatic, sweeping gestures known as Action Painting. Such radical elements the artist said, ‘I want to express my feelings rather
is strikingly apparent in this painting. He would pour as the abandonment of easel painting and the lack of than illustrate them... I can control the flow of paint:
and fling the paint, using sticks and knives, onto an traditional perspective make this work an important there is no accident, just as there is no beginning and
unstretched canvas which had been tacked to a hard landmark in post-war international art. Its connection no end.’ Pollock died in a car crash in 1956.
wall or floor. This enabled him to walk around it with Abstract Expressionism lies in its energetic
and allowed him almost to become the gesture of the technique and freedom of expression. Pollock’s ► Frankenthaler, Hofmann, Kline, De Kooning, Motherwell

i. h 172.7 x W264.2 cm. h68 * w!04 in. Museum of Modern Art, New York, NY
Jackson Pollock, b Cody, WY, 1912. d Springs, Long Island, NY, 1956. Number la, 1948. 1948. Oil and enamel on canvas
 Pontormo Jacopo The Visitation

This painting depicts the biblical episode of the Virgin, colours and elongated figures with dark, sunken eyes. chronicles the details of his daily life sometimes to
pregnant with Christ, meeting her cousin Elizabeth, Distorted shapes and intensely brilliant hues are the point of obsession. Agnolo Bronzino was a pupil
who is pregnant with John the Baptist. Pontormo characteristic of Pontormo’s style, which provides a and follower.
has subordinated the story as a whole to the embrace fine example of Mannerism at its height. He trained in
of these two women. Any superfluous detail has been the Florentine school but as his painting style suggests,
eliminated. The emotion of the meeting has been he was something of an eccentric. His neurotic and
heightened by the use of bright, almost fluorescent, withdrawn character is revealed in his diary, which ► Beccafumi, Bronzino, Parmigianino, Rosso Fiorentino

428

Jacopo Pontormo b Pontormo, 1494 d Florence, 1556. The Visitation. 1530/2. Oil on panel. h202 * wl56 cm. \\79Vi * w61’/2 in. Pieve di San Michele, Carmignano
Popova Ljubov Space-Force Construction

Overlapping geometric shapes, painted in muted beyond the picture. In its emphasis on colour and success has given me such satisfaction as the sight
colours, appear to be floating on the unpainted form and the use of added shadow to increase of a peasant or a worker buying a length of material
plywood background. The interplay of these various perspective, the painting demonstrates the influence designed by me’. One of the most important members
circles, curves and diagonal lines is enhanced by of Constructivism. From 1921 Popova turned her of the Russian avant-garde, she died prematurely of
multicoloured shadows which contribute to the talents towards textile, costume and set design. In tune scarlet fever, at the height of her career.
effective play of light. A further sense of depth is with the spirit of Constructivism, she believed that art
created by the diagonal lines, which appear to extend should serve a useful purpose, claiming that ‘no artistic ► Lissitzky, Malevich, Moholy-Nagy, Rodchenko, Tatlin

Ljubov Popova, b Moscow, 1889. d Moscow, 1924. Space-Force Construction. cl920-l.Oilon panel. h77.7 * w77.7cm. h30% » w305/sin. Private collection
 Poussin Nicolas The Arcadian Shepherds

An elegiac inscription — Et in Arcadia Ego (‘Even in is broken by the reminder that death occurs even in the and Gianlorenzo Bernini, Poussin’s paintings emphas¬
Arcadia I [i.e. Death] am present’) — on an ancient most perfect of worlds. Reminiscent of the mysterious ize form and moral content. They were highly praised
Roman sarcophagus arouses the curiosity of a group paintings of Giorgione, this work also represents by the intellectuals in Rome.
of shepherds. This melancholy phrase sets the tone Poussin’s more serene strain of the Baroque spirit,
for the bucolic, enigmatic painting. Its warm, autumnal which was based on the Classicism of Raphael and the
colours and carefully staged figures give a resigned, Antique. In sharp contrast to the theatrical emotion¬
tragic air to the picture, as the shepherds’ pastoral idyll alism of such contemporaries as Peter Paul Rubens ► Bernini, Claude, J-L David, Giorgione, Raphael, Rubens

430

Nicolas Poussin, b Les Andelys, 1594 d Rome, 1665. The Arcadian Shepherds. 1638-9. Oil on canvas. h85 * wl21 cm. h331/2 * w47V& in. Musee du Louvre, Paris
Powers Hiram The Greek Slave

Gracefully and smoothly carved, a statuesque young of Independence, the statue was well received.) and choice of subject matter — reminiscent of the
woman stands, apparently peacefully, looking to her The soft surface and grace of her form give a calm work of the Greeks and Romans - are all ingredients
left. On closer inspection, we notice that her hands, and subtle lyricism to the figure. Powers was one that link him to the high ideals of Neo-Classicism,
held tenderly by her side, are in fact tied to chains. of the leading American sculptors of the nineteenth the style which then dominated European and
At first glance she appears to be a Greek goddess, at century. He achieved great fame with The Greek Slave, American sculpture.
second she is a Greek Christian, sold to the Turks one of his best-loved works, which was cast in many
as a slave. (Poignantly coinciding with the Greek War copies. His preciseness of handling, emotional restraint ► Canova, Donatello, Leighton, Maillol, Moore

431

Hiram Powers, b Woodstock, VT, 1805. d Florence, 1873. The Greek Slave, cl 843. Marble. hl66.4 cm. h65'/2 in. Vale University Art Gallery, New Haven, CT
Primaticcio Francesco Danae

Danae is depicted naked, seated on her bed in a Primaticcio was summoned by Francis I to France, interior decoration of the palace its full, opulent
sumptuously coloured room, with her maid and putti to work with Rosso Fiorentino on the decoration of expression. He greatly influenced the formation of
in attendance; above her falls a shower of gold. In the King’s palace at Fontainebleau. There he devised the French Renaissance style, but sadly many of his
Greek mythology, Danae was locked in a bronze tower elaborate decorative schemes, specializing in a decorative schemes have now been destroyed.
by her father Acrisius, King of Argos, when an oracle combination of painting and stucco in high relief
predicted his murder by a son of hers. Zeus appeared such as that shown here. Primaticcio was a painter,
in the form of a shower of gold to seduce her. In 1532 sculptor and architect; his combined skills gave the ► Cellini, El Greco, Pontormo, Rosso Fiorentino

Francesco Primaticcio. b Bologna, 1504. d Paris, 1570. Danae. cl533-40. Oil on panel with stucco reliefs, h 105 x w254 cm. h41 Vb x wlOO in. Chateau de Fontainebleau, Fontainebleai
Prud'hon Pierre-Paul The Empress Josephine

A beautiful and thoughtful young woman rests on a passionate and unpredictable. Josephine was unable to Supported by both of Napoleon’s wives, he became
red shawl in a rocky glade. The delicate sleeve of her bear her husband a son, and the marriage was declared a rival of Jacques-Louis David and is known for
Empire-style dress has slipped from her shoulder null and void in 1810. Napoleon commissioned this his depictions of romantic and mysterious women.
as she gazes, deep in thought, across the picture. portrait shortly after his consecration as Emperor.
Once married to a viscount who was guillotined during A Frenchman by birth, Prud’hon travelled to Italy in
the French Revolution, Josephine married Napoleon I 1784 where he was deeply impressed by the work
in 1796. Riddled with infidelity, their relationship was of Antonio Canova, Correggio and Leonardo da Vinci. ► Canova, Correggio, J-L David, Leonardo

433

Pierre-Paul Prud'hon. b Cluny, 1758. d Paris, 1823. The Empress Josephine. 1805. Oil on canvas. h244 « w!79 cm. h96 * w70'/2 in. Museedu Louvre, Paris
Della Quercia Jacopo Virgin and Child with Saints

This free-standing group of statues of the Madonna through to her left foot, emphasized by the flow of Della Quercia’s work became very well known - even
and Child with Saints decorates an altar in a Sienese drapery. This pose (known as contrapposto) is reflected Michelangelo copied one of his works when he
church. The Madonna’s solid pose and the heavy folds in the figures of the saints. Such a delicate swaying painted the Sistine ceiling.
of her gown lend her an air of great monumentality, movement is a typical feature of Gothic art, although
yet she also expresses human tenderness and charm. Della Quercia has also given the forms a solidity
A graceful ‘S’ curve is apparent in her stance, which characteristic of the new ideas of the Renaissance.
gives a lyrical movement from her inclined head A contemporary of Donatello and Lorenzo Ghiberti,, ► Cimabue, Donatello, Duccio, Ghiberti, Michelangelo

Jacopo della Quercia b Siena, 1374/5. d Siena, 1438. Virgin and Child with Saints (detail). cl423-5. Gilt wood. hl40 cm. h55’/8 in. San Martino, Siena
Raeburn Sir Henry The Reverend Robert Walker Skating on Duddingston Loch

Revelling in the winter weather on the frozen lake reveals the humour of the painter, but also his who were freely painted with humour and joviality.
of an Edinburgh suburb, a sprighdy Church minister intimacy with the sitter. As one of Scodand’s most Raeburn was knighted by King George IV in 1822 and
is depicted nonchalantly ice-skating in an exagger¬ popular artists, Raeburn captured the personalities of the following year, only a few months before his death,
ated, semi-theatrical pose. His conservative, black Edinburgh’s Golden Age during the Enlightenment. was appointed His Majesty’s Limner for Scotland.
attire stands out sharply against the blurred grey He is said to have produced over 1000 portraits.
of the background. The depiction of a member of These included poets, scholars, philosophers and local
the Church establishment in such a manner not only dignitaries, as well as the colourful Highland lairds, ► Goya, Mengs, Ramsay, Vigee-Lebrun

435

Sir Henry Raeburn, b Edinburgh, 1756. d Edinburgh, 1823. The Reverend Robert Walker Skating on Duddingston Loch. 1784. Oil on canvas. h76 * w64 cm. h30 x W25V4 in. National Gallery of Scotland, Edinburgh
 Ramsay ah™ Lady Robert Manners

Softly modelled, this exquisite oval portrait exudes counterpart to Sir Joshua Reynolds and Thomas English visitors to Rome. Ramsay went on to develop
a sense of tenderness and a sympathetic grasp of Gainsborough. Although he worked mainly in London, his own style of captivating charm and sensitivity. He
character. Painted with a feathery sense of touch becoming the Court Painter to George III in 1760, he was also much influenced by the refined finesse of
and executed in muted, pastel colours, the form and first trained in Edinburgh before continuing his studies contemporary French art.
demeanour of the noble lady are conveyed with in Italy. Here he was impressed by the elegance of
flattering delicacy. The son of a poet, Ramsay was one the contemporary Italian painters, especially Pompeo
of the foremost portraitists of his day — the Scottish Batoni who produced many portraits of aristocratic ► Batoni, Gainsborough, Mengs, Raeburn, Reynolds

436

Allan Ramsay, b Edinburgh, 1713. d Dover, 1784. Lady Robert Manners. cl756. Oil on canvas. h74.3 x w61.6cm. h29Vi x w24 Va in. National Gallery of Scotland, Edinburgh
Raphael The School of Athens

A group of animated men, young and old, gather in unreal sense of calm, are Plato and Aristode, the Michelangelo, Raphael is seen with them to epitomize
a vast hallway. Five figures crouch over a compass and two greatest philosophers of the Ancient world. In the high point of Renaissance art. A prolific and
slate to discuss geometry, while others (holding a globe October 1508 Pope Julius II commissioned a group ambitious man, an architect, painter and designer of
and a starry sphere) discuss astronomy. In turn these of artists to redecorate his private apartments. sculpture, Raphael is considered one of the greatest
bustling groups debate the seven liberal arts. The The School of Athens and other frescos in the Stanza draughtsmen of Western art.
two figures at the centre of the composition, walking della Segnatura took Raphael about three years
towards us with assurance and appearing to exude an to complete. Younger than either Leonardo or ► Leonardo, Michelangelo, Perugino, Pollaiuolo, Poussin

Raphael (Raffaello Sanzio). b Urbina, 1483. d Rome, 1520. The School of Athens. 1508-11. Fresco. w770 cm, w303 in. Palazzo del Vaticano, Rome
Rauschenberg Robert Reservoir

An assortment of commonplace objects is boldly this in order to make social comment but rather to USA. One of the most notorious gestures of this

displayed against a bespattered background. The clock break away from the traditional idea of picture space. self-consciously avant-garde figure was his cabled reply

at the upper left was set when the artist began to work He wanted, in his own words, ‘to act in the gap to a request by Parisian gallery-owner Iris Clert for

on the painting; the other clock was set to record the between’ art and life. Rauschenberg incorporated a portrait: ‘This is a portrait of Iris Clert if I say so -

time of completion. This ‘combine’ painting illustrates mundane objects into his work as naturally as many Robert Rauschenberg.’
Rauschenberg’s method of selecting and combining artists had traditionally used paint. This provided much
groups of disparate images and objects. He did not do of the inspiration for the Pop art movement in the ► Broodthaers, Duchamp, Hamilton, Johns, Schwitters

Robert Rauschenberg b Port Arthur, TX, 1925. d Captiva, FL, 2008. Reservoir. 1961. Oil, pencil, fabric, wood and metal, h217.2 x wl 58.7 cm. h851/2 x w62Vi in. National Museum of American Art, Washington, DC
Ray Charles Family Romance

Hand in hand stand a father and mother, along with height of each figure to just less than 135 centimetres range of media including photography, film, sculpture
their two children, a boy and a girl - the archetypal (4 feet 5 inches), the adults have been necessarily and installations. He was inspired early in his career by
nuclear family. Bold in their nakedness, the artist has reduced in size, while the two children are noticeably the work of Anthony Caro.
crafted each figure with a high degree of realism enlarged. The result is unnerving. The children have
down to each individual hair. However, in contrast taken on a menacing presence, their physical frames
to this anatomical accuracy we are instantly aware of more imposing than those of their parents. Based in
a strangeness of scale. In choosing to standardize the Los Angeles, Ray has produced works across a wide ► Caro, Hirst, Kelley, Koons, Oldenburg

Charles Ray. b Chigaco, It 1953. Family Romance. 1993. Painted fibreglassand synthetic hair. hl34.5 * w215.9 * 127.9 cut. h53 * w85 * 111 in. Museum of Modern Art, New York, NY
 Redon Odilon The Cyclops

In this scene from Greek mythology, Polyphemus, nightmarish quality. In accordance with Symbolist imaginative paintings and lithographs, with fantastical

the giant Cyclops, spies upon the naked nymph theories, Redon was more interested in exploring the subjects representing fragments of dreams. Redon also

Galatea, with whom he is hopelessly in love. The inner psyche than in depicting reality in a straight¬ produced vibrandy colourful landscapes and flower

giant’s huge eye casts a longing gaze over the object forward manner. His aim was to find a form of paintings. His work was very influential on the work of

of his devotion. More horrifying than Gustave artistic expression that would inspire introspection a group of younger Symbolists who called themselves

Moreau’s rather more romantic treatment of the and thought on the part of the viewer. His belief in the Nabis.
same theme, Redon’s interpretation has a terrifyingly anenchanted inner vision led to the creation of highly ► Bonnard, Denis, Matisse, Moreau, Rouault, Vallotton

440

Odilon Redon b Bordeaux, 1840. d Paris, 1916. The Cyclops. 1898/1900. Oil on panel. h64 * w51 cm. h25’/4 * w20'/8 in. Rijksmuseum Kroller-Muller, Otterlo
ReCJO Paula The Family

An apparently innocent family scene is undermined undertones, provides the twist and ambiguity of the based on her own interpretation of nursery rhymes
by disturbing, sexually-charged undercurrents. The scene. The painting is representative of the style and J M Barrie’s Peter Pan, providing us with disturbing
main action takes place between the furious youth for which Rego has become internationally renowned. scenes from the traditional stories.
and his determined sister who conveys an incestuous Simple yet sinister, her paintings are characterized by
sexual thrill as she presses her body close, helping their monumentality and psychological drama. They
her kind, trusting mother to undress him. This theme often deal with ambiguous relationships between men,
of rebellion and domination, with all its erotic women and children. Rego has also executed etchings ► Balthus, Modersohn-Becker, Spencer, Weight

441

. ,. ._i __ kor* 4 x w?13 4 cm h84 x w84 in. Saatchi Collection, London

b Lisbon, 1935. The Family. 1988. Acrylic on paper mounted on canvas. h^U.4 * w^u.^cm. no
Paula Rego
 Reinhardt Ad Abstract Painting, 1959

A glowing suffusion of grey envelops this canvas. Nothing is allowed to intrude upon the stark intensity life, and life from art, saying, ‘Art is art-as-art and
Distilled and immaculate, its pure surface is violated of the work. Reinhardt reduced art to its ultimate everything else is everything else. Art-as-art is nothing
only by a very faint cross, barely visible to the naked essence. Associated with the Abstract Expressionists but art.’ Only abstract art, he believed, could express
eye. A shrouded atmospheric aura emanates from in the USA, he entirely eschewed all literal and this pure standard.
the painting’s depths. The iconic image of the cross painterly overtones in his search to refine the purest
has been treated in an abstract way, taking the of statements. Also a theoretician and teacher, he was
expressive qualities of colour to their fullest extreme. adamant that art should be completely separate from ► Kelly, Newman, Rothko, Ryman

Ad Reinhardt b Buffalo, NY, 1913. d New York, NY, 1967. Abstract Painting, 1959. 1959. Oil on canvas. h274.3 * wl 01.6 cm. hi 08 * w40in. Private collection
Rembrandt Self-portrait at the Age of Sixty-Three

Painted the year he died, this portrait shows the them stand out from the background, and the hands of his life, from humble beginnings to happy marriage
artist as an old man in a velvet cap and a doublet are only just illuminated. A master of light and shadow, and professional success, then personal tragedy and
with fur collar. Rembrandt successively darkened the Rembrandt used his technique to enhance the drama poverty. Some canvases appear to have been painted
painting with layers of overpainted details until of scenes such as his famous Night Watch. His not as portraits per se, but as tronie, a type of Dutch
only the face — with its bulbous nose, weary eyes and numerous self-portraits, painted over some forty years, genre painting that showed a stock character in exotic
worried brow — remains highlighted, circled by a contain narrative alongside representation, not only or historical costume.
hazy aura. Thick impasto in the beard and collar make documenting his appearance but telling the story ► Caravaggio, Leyster, Rosa, Rubens, Titian

Rembrandt van Rijn b Leiden, 1606. d Amsterdam, 1669. Self-portrait at the Age of Sixty-Three. 1669. Oil on canvas. h86 * w70.5 cm. h33% * w27% in. National Gallery, London
 Guido Aurora

In Reni’s masterpiece, frescoed on the ceiling of the chariot, dancing in his light, are the Hours. Reni fresco The Triumph of Bacchus and Ariadne in the Galleria
central hall in a Roman garden palazzo, the young was one of the most successful and influential of Farnese. Instead, Aurora is characterized by Classical
Apollo drives the chariot of the sun, bringing light to seventeenth-century Italian painters, whose classicizing restraint, however bold the colouring, with several of
another day. Before his four rearing horses is Aurora, art was influenced by the work of Raphael and the figures copied from Roman sarcophagi.
or Dawn, driving away the darkness of night from the Parmigianino. He was a member of the Bolognese
idyllic landscape below in a daring chromatic contrast school fostered by the Carracci brothers, but his Aurora
of orange and blue-violet. Surrounding the god’s has none of the lasciviousness of Annibale Carracci’s ► Carracci, Domenichino, Raphael, Parmigianino

Guido Reni. b Bologna. 1.575, d Bologna, 1642. Aurora. 1614. Fresco. h280 * w700 cm. hi 10 * W2751/! in. Casino dell'Aurora, Palazzo Rospigliosi-Pallavicini, Rome
 Pierre Auguste Ball at the Moulin de la Galette

Men in top hats and boaters and women in pretty in the middle distance are his favourite model very closely with Claude Monet. They spent much
dresses chatter, drink and dance under the glowing Marguerite Legrand and the Spanish painter Don time painting outdoors, capturing the fleeting effects
lights of this famous Parisian dance hall. Renoir loved Pedro de Solares y Cardenas. Like all Impressionists, of sunlight as it scatters across a landscape. With his
this subject and painted it a number of times, repro¬ Renoir painted from life as he sat in the dance hall; ‘rainbow palette’, Renoir painted over 6,000 canvases
ducing the patterns made by the light as it catches his friends assisted him each day in moving his of women, children, flowers and fields.
the figures moving around the floor. Many of Renoir’s canvases back and forth to his studio. At the time the
friends acted as models for the dancers. The couple Moulin de la Galette was painted, Renoir was working ► Bazille, Cassatt, Monet, Morisot, Sisley, Toulouse-Lautrec

445

< wl 75 cm. h515/s X w68%in. Musee d'Orsay, Paris

Pierre Auguste Renoir, b Limoges, 1841. d Cognes, 1919. Ball at the Moulin de la Galette. 1876. Oil on canvas. hl31
 Reynolds Sir Joshua The Countess Spencer with her Daughter Georgiana

The tenderness of this charming portrait is empha¬ Reynolds is best known for the manner in which he Britain to a height equalling that of the great Italian
sized by the delicate way in which the mother clasps married the Grand Style of the great Italian masters masters. His status during the reign of George III was
her arms around her young daughter. The lace and silk with portraits of the English aristocracy. Although such that when the King formed the Royal Academy
of the countess’s dress are skilfully painted with a grandeur and formality are minimized in this picture, in 1768, Reynolds was appointed its first President.
minimum number of brushstrokes. This rather loose they are alluded to in the background elements of
manner of painting is continued in the shaggy hair of the column, drapery and brooding clouds. Reynolds
the dog, and the cloudy sky in the background. is credited with having elevated portrait-painting in ► Dobson, Gainsborough, Lely, Morisot, Rigaud, Ramsay

446

Sir Joshua Reynolds b Plympton, 1723 d London, 1792. The Countess Spencer with her Daughter Georgiana. 1760/1. Oil
il on canvas, h 122 * wl 15 cm. h48 * w45Vi in. Collection of The Earl Spencer, Althorp
Ribera Jusepe Saint Paul the Hermit

St Paul the Hermit was the first Christian saint to seek muscles, furrowed brow and expressive hands, giving tradition of Neapolitan painting with its emphasis on
a life of solitude, meditation and asceticism. Here the painting a startling sense of realism. Ribera’s art what one critic has called ‘the poetry of the repulsive’.
he is depicted as an old man, worn out by the frugal invokes the fervent spirituality of seventeenth-century
austerity of a life spent in the Egyptian desert. Yet Spain, which is expressed with a strong and dramatic
he is still fired by religious ardour as he contemplates use of light and shade (chiaroscuro) derived from the
the skull before him, a symbol of man’s mortality. The Italian artist Caravaggio. Ribera settled in Naples
harsh, theatrical lighting emphasizes the saint’s sagging in 1616, and his style laid the foundation for the great ► Caravaggio, El Greco, Guercino, Reni, Zurbaran

Jusepe Ribera, b jativa, 1591. d Naples, 1652. Saint Paul the Hermit. 1640. Oil on canvas. h!43 * w!43 cm. h56Vi * w56'/< in. Musea del Prado, Madrid
 Richter Gerhard Betty

The artist’s daughter Betty is painted with photo¬ and pink patterns of her jacket and dress, and her hair background of this painting resembles some of

graphic detail. She sits very near to the surface of the gathered at the back of her head. Richter has under¬ the very different abstract works that Richter creates.

picture, as in a close-up camera shot. The painting mined accepted notions of painting and represen¬ These monochrome, thickly painted canvases evoke

could not really be called a portrait of Betty, however, tation, giving us a painting that looks like a photograph, sadness and despair and were executed in response to

as it teaches us very little about her. Richter has chosen a portrait that literally turns its back on convention. the Vietnam war.
to paint his daughter as she turns away; her face is Continually discovering new ways of expression,
invisible. Instead he has concentrated on the red, white Richter’s work is extremely diverse. The wall in the ► Dix, Estes, Organ, Schad

448

Gerhard Richter b Dresden, 1932 Betty 1988. Oil on canvas. hl02 x w72 cm. h407s * w28%in. Collection of the artist
Rigaud Hyacinthe Louis XIV

Louis XIV, the Sun King, stands in a pose of elegant down to the jewelled shoe buckles — and textiles. Louis throughout the eighteenth century. Although
superiority amid a display of crimson curtains and was sixty-three when this canvas was painted as a gift the likeness is realistic, the painting functioned less
royal accoutrements. The fleur-de-lis in his ermine-lined for his grandson, Philip V of Spain. It was a sensation to represent the king’s character than to express the
coronation robes is echoed in the upholstery of the at court and was reproduced in several copies; it never absolute power of the monarchy.
throne and the stool on which rests his crown. Rigaud left France. This portrait, and Rigaud’s painting of
trained in his father’s tailoring workshop, which may Louis XV, established the prototype for portrayals
explain his lovingly detailed depiction of costume — of European monarchs that remained influential ► Drouais, Van Dyck, Kneller, Lely, Reynolds

449

acinthe Rigaud. b Perpignan, 1659. d Paris, 1743. Louis XIV. 1701. Oil on canvas. h277 * w!94cm. hi09 * w76'/2 in. Musee du Louvre, Paris
 Riley Bridget Cataract 3

Red, turquoise and grey curves undulate across the painting’s connection with the Op Art movement paintings vibrate with a magical lyricism. Riley’s first
canvas in a uniform sequence, evoking an iHusionary is apparent in the interplay of colour and lines which paintings, in the early 1960s, were almost all in black
sense of movement. The canvas seems distorted produces a stunning, shimmering optical illusion. and white. Her work has developed dramatically over
by the almost hallucinatory image, as its colours appear Riley’s aims go beyond the merely scientific, however. the years and she has recendy tended to paint straight
to vibrate with a dazzling intensity. This technique She sees the elements she uses as being as much a parallel lines in intense colours.
of exploring and exploiting the fallibility of the eye part of nature as are trees, clouds and hills. More than
provokes a powerful sensation on the spectator. The a sum of their formal and colouristic parts, her ► Albers, Louis, Vasarely, Vieira da Silva

450

Bridget Riley b London, 1931. Cataract 3. 1967. Emulsion on canvas. h221.9 * w222.9 cm. h873/s * w873A in. British Council, London
Riopelle Jean-Paul Large Composition

Irregular patches of vivid colour create a lyrical image, combining free calligraphic gestures and coloured Although he moved away from Surrealism,
like a mosaic of flickering light. The densely layered taches or stains. This is one of the first paintings he continued to work in an abstract format while
paint is applied direcdy from the tube with a palette to exploit this technique, and demonstrates Riopelle’s developing a looser paint application.
knife, creating intense areas of pure colour which are controlled use of thick areas of flaming colour. The
interwoven with threads of pigment. The structure of heavily textured surface and free application of paint
this painting is based on the ink and watercolour works connect this work to the Art Informel movement.
Riopelle had developed a couple of years earlier. Born in Montreal, Riopelle lived in Paris from 1948. ► Fautrier, Hartung, Pollock, Tobey, Vieira da Silva

451

2002. Large Composition. 1949-51. Oil on board. hl70.2 x W260.5 cm. h67 x wl02'/2 in. Private collection
Jean-Paul Riopelle. b Montreal, 1923. d IleauxGrues,
 Pipilotti Ever is Over All

Enveloped in a gende melody, we see projected on with the long-stemmed red flower she carries. A works combine humour and irony with an earthiness
one wall a slow-motion, roving view of green passing policewoman salutes cheerfully as she skips that refuses to take itself too seriously while
meadows full of red flowers. On the adjacent wall is to the next car and attacks again. Rist delights in challenging the viewer’s assumptions. Here, fiction
another colour-saturated projection, also in slow provocative art that juxtaposes feminism and female (the ruby slippers, the magic wand) is combined with
motion, in which a woman in a blue dress and red sensuality with fairy tales and modern culture contemporary reality (urban aggression and wanton
shoes walks down a car-lined street. She smiles, the (even her nickname comes from the children’s story vandalism) to produce a whimsical yet anarchic scene.
picture of innocence, as she smashes a car window Pippi Longstocking). Her sophisticated, imaginative ► Abramovic, Cahun, Kruger, Sherman

Pipilotti Rist b Grabs, St Gallen, Switzerland, 1962. Ever is Over All. 1997. Video/sound installation. Dimensions variable, dur Ihr 45 min. Museum of Modern Art, New York, NY
Rivera Diego The Tortilla Maker

The peace and tranquillity of this kitchen, where intimacy. The importance of the painting lies in to his heart. He was also deeply inspired by the ancient
peasant women are preparing tortilla, are conveyed by its representation of Mexican culture, and the way Mayan and Aztec cultures. Rivera was active in the
the painting’s simplicity of colour and form. Executed in which it reflects Rivera’s firm convictions about Mexican Revolution and throughout his career
at a time when Rivera was beginning to paint frescos, the essential human dignity of people. Although remained a politically committed artist. He is renowned
the influence of this specialized technique can clearly he was earlier influenced by Cubism, this painting for his large-scale murals.
be seen in the sensitive handling of the warm, glowing demonstrates Rivera’s ability to work in the Classical
colours, which express a sense of nostalgia and style, using the Mexican subjects that were so close ► Botero, Gauguin, Kahlo, Rego, Spencer, Tamayo

I. hi 07.3 x w89.5 cm. h42'/2 * w35V< in. University of California, San Francisco, CA
Diego Rivera, b Guanajuato, 1886. d Mexico City, 1957. The Tortilla Maker. 1926. Oil on canvas.
 Id Luca Madonna and Child between Two Angels

‘Della Robbia blue’ has become a standard term with the depiction of three-dimensional space in contemporaries as one of the great artistic innovators
for the glaze pioneered by the Della Robbia family. a shallow plane. His introduction of colour, however, of the fifteenth century. His flourishing workshop
The depth of the blue is heightened by the juxta¬ enabled him also to reproduce the colouristic effects was inherited by his nephew, Andrea, who continued
position with a pure white glaze. Reliefs such as this of a painter. The subde modelling and crisp lines to produce terracotta sculptures.
are categorized neither as painting nor sculpture; they of this sculpture could not have been achieved without
fall between the two media. Like his contemporary a strong understanding of drawing — the basis for
Lorenzo Ghiberti, Luca della Robbia was concerned both painting and sculpture. Luca was ranked by ► Ghiberti, Filippo Lippi, Pisano, Della Quercia

454

Luca della Robbia, b Florence, 1400, d Florence, 1482, Madonna and Child between Two Angels. 1475/80. Glazed terracotta. diam.lOOcm. diam.39'/3 in. Mu seo Nazionale del Bargello, Florence
Rodchenko Alexander Composition (Overcoming Red)

Triangular shapes balanced in front of circles create primary colours. In the same year as this painting gave up easel painting in favour of design and the
a three-dimensional illusion, which is enhanced by Rodchenko exhibited his famous Black on Black applied arts. He was particularly active in industrial
the dark shading on the left diagonals of the triangles. painting, a response to Kasimir Malevich’s “White on design, typography and photography, the latter often
The flat forms are divided by colour and appear to White’ series. Rodchenko’s desire to reduce painting exploiting unusual perspectives and angles of vision.
rotate. Composed of stricdy geometric designs traced to its abstract, geometric essentials led to his incor¬
with a compass and ruler, the painting reflects the poration into the Constructivist movement. In
artist’s search to create elementary shapes in pure, common with other members of this group he later ► Van Doesburg, Gabo, Lissitzky, Malevich, Tatlin

455

on canvas. h78.5 x w62 cm. h30% » w243/> in. Annelyjuda Fine Art, London
Alexander Rodchenko, b St Petersburg, 1891. d Moscow, 1956. Composition (Overcoming Red). 1918. Oil
 Rodin Auguste The Kiss

Two lovers are locked in an infinite embrace. The are evoked by the paradox of the sensuality of Romanticism and a herald of modern art. The pulsating
emotional force and vitality of this monumental flesh rendered so believably in cold inanimate stone, energy and form of his statues, such as this, have
sculpture have made it into one of the world’s best- emphasizing as one critic put it ‘the impossible union had an enormous impact on twentieth-century artists.
known works of art. The softly flowing forms of of souls by their bodies’. Rodin’s interest in the idea
the lovers contrast starkly with the block of roughly of liberating the human figure from stone reflects his
hewn marble to which they are attached — symbolic admiration for Michelangelo. He belongs to a universal
of their earth-bound union. Both passion and despair tradition of sculpture and is both a product of late ► Bourgeois, Brancusi, Canova, Giambologna, Michelangelo

Auguste Rodin b Paris, 1840 d Meudon, 1917. The Kiss. 1888-9. Marble, hi83.6 cm. h72’/3 in. Musee National Auguste Rodin, Paris
Romney George Mrs Mary Robinson, 'Perdita'

Confidently attired in a fashionable black silk cape and Theatre in London. An attractive and charming of painting ambitious historical works in the ‘Grand

a grey muff, her powdered hair folded behind a white woman, she enjoyed a brief liaison with the Prince Style’, but despite numerous preparatory drawings

cap, an elegant lady looks towards us with a coy of Wales around the time that this portrait was made. this dream was never realized. His popularity declined

demeanour. Her pretty features are sharply delineated Thomas Gainsborough and Sir Joshua Reynolds also in the 1790s and he left London to return to his native

in a soft, formal style. Mrs Mary Robinson was an painted her. Romney was a fashionable portraitist, Kendal, where he died.

actress, and was nicknamed ‘Perdita’ after playing that and at one time was considered the equal of Reynolds
and Gainsborough. After a visit to Rome he dreamed ► Gainsborough, Lawrence, Raeburn, Ramsay, Reynolds
role in Shakespeare’s A Winter’s Tale at the Drury Lane

457

h76 x w63 cm. h30 x w24% in. Wallace Collection, London

George Romney, b Dalton-le-Ferness, 1734. d Kendal, 1802. Mrs Mory Robinson, 'Perdita'. 1781. Oil on canvas.
 Salvator Self-portrait

Regarding us over his shoulder with a rueful, disdainful quality; the strange, horizonless sky appears to make and nineteenth centuries. Rosa was not only a painter

expression, the artist appears to be admonishing us him loom threateningly above us. Rosa was gready but turned his hand to engraving, poetry, music

with disapproval. Indeed, inscribed on the tablet he influenced by the almost cruel realism of Jusepe Ribera, and acting.
holds are the words, ‘Be silent, unless what you have who had settied in Naples by 1616, and his own much-
to say is better than silence.’ The stern message of this admired ‘savagery” was evident even in his poetic
sombre self-portrait is made even more real by Rosa’s landscapes. This particular quality was to be important
dark cloak and hat, giving him an almost sinister for the Romantic landscapists of the later eighteenth ► Durer, Kauffmann, Mengs, Ribera, Vigee-Lebrun
Rosenquist James Study for Marilyn

This striking image seduces the viewer with its brash impact. These facile images are undermined, however, Pop art movement in America. Rosenquist had
colours and erotic overtones. The visual devices by the baffling composition of the canvas - why is impeccable credentials as a Pop artist: his early years
Rosenquist has used are those of commercial adver¬ one-half of the woman’s face (supposedly that of were spent painting billboards and gasoline signs

tising: the half-open lips, perfectly manicured nails Marilyn Monroe) obscured by a large glass tumbler? around the USA. He turned to painting as an art form

and provocatively placed stick give off suggestive The painting demonstrates the power of advertising, in i960.
signals, while the bold cropping of the image and which has become one of the foundations of urban
the flat, commercial colours used have an immediate society. Its use of popular imagery links it with the ► De Kooning, Lichtenstein, Oldenburg, Warhol, Wesselmann

re:

s Rosenquist. b Grand Forks, ND, .933, Study for Marilyn. 1962. Oil on canvas. h95.2 x w91.5 cm. h37Vi x w36 in. Private collection
 Rosselli Cosimo The Virgin and Child Enthroned with Saints

The simple harmony of this composition is typical St Bartholomew were probably included because they as the robes of the Virgin. The use of perspective
of fifteenth-century Florentine altarpiece design. were the patron saints of the commissioning client. in painting was an issue of great artistic debate in
The presence of saints John the Baptist and Zenobius Blue paint, made of ground lapis lazuli (a semi¬ Renaissance Florence. Here Rosselli’s use of one-point
(patron saints of Florence) indicates that this altarpiece precious stone), was the most expensive of all tempera perspective is visible in the marble floor tiles. Rosselli’s
once stood in a Florentine church. The desires of pigments, so the more blue included in a painting, the pupils included Piero di Cosimo.
Renaissance clients often dictated more than just the more expensive it became. Blue was therefore reserved
subject of an altarpiece; in this case, St Andrew and for the most important passages in a painting, such ► Masaccio, Piero della Francesca, Piero di Cosimo

460

► S-IO H ANM'ES-BATISTA• S ANDREAb'APl.VS! :fff. .XX D1 EXXVII1N OVF.BR1 ' S' B A RT H O L OM E V §• APLVS* -S-H E N OB I V.S • E PV.S^1'

Cosimo Rosselli. b Florence, 1439. d Florence, 1507. The Virgin and Child Enthroned with Saints. c!478. Tempera on panel. hl90.5 * W175.2 cm. h75 x w69in.TheFitzwilliam Museum, Cambridgi
Rossetti Dante Gabriel The Day-dream

The painting itself gives no indication as to the nature this painting. As with many of Rossetti’s works it illustrates certain characteristic Pre-Raphaelite

or subject matter of the absorbing day-dream of presents us with an idealized vision of womanhood. techniques, such as the use of luminous expanses of

this beautiful woman, yet her reverie is so consuming Rossetti was a co-founder of the Pre-Raphaelite bright colour, meticulous attention to detail and the

that both her book and her flower lie forgotten in Brotherhood, whose artistic aim was to return to the study of outdoor subjects. Rossetti also wrote poetry

her lap. The many hues of green which surround her simplicity of paintings before the time of the Italian which echoed the themes in his paintings.

in the folds of her dress, and the leaves on the branches High Renaissance artist Raphael, as a reaction
against contemporary Victorian artists. This work ► Fra Angelico, Botticelli, Burne-Jones, Hunt, Millais, Moreau
which enshrine her, add to the overall sensuality of

461

i. hi 59 * w93 cm. h62'/2 * w36’/2 in. Victoria and Albert Museum, London
Dante Gabriel Rossetti, b london, 1828. d Birchington-on-Sea, 1882. The Day-dream. 1880. Oil on canvas.
 no Moses Defends the Daughters of Jethro

Jethro’s seven daughters were prevented from watering contorted poses and oddly perverse scattering at Fontainebleau. Rosso, who earned his name because
their father’s flock by a group of obstinate shepherds of truncated limbs in the foreground, show Rosso of his shock of red hair, was rumoured to have
whom Moses fought off single-handedly. Moses’ Fiorentino at the height of Mannerism. This style committed suicide; it is more likely that he died from
twisted and muscular body is seen in the centre of was a development from the stability and order natural causes.
the composition fiercely beating a figure on the floor. associated with Renaissance artists such as Perugino.
The static, stunned daughter top right, the billowing Towards the end of his career. Rosso left his native
pink cloak top left, and the intertwined forms, Italy to work on the palace of Franfois I of France ► Bourdelle, Bronzino, Giulio Romano, Pontormo, Primaticcio

462

Rosso Fiorentino (Giovanni Battista di Jacopo) b Florence, 1494. d Fontainebleau, 1540. Moses Defends the Daughters of Jethro. cl523. Oil on canvas. hl60 * wl 17 cm. h63 * w46 in. Galleria degli Uffizi, Florence
Rothko Mark Untitled

Rectangular expanses of intense colour float upon truth, as if they represent the embodiment of long an immediate transaction; it takes you into it.’ Rothko
the canvas. Their blurred edges make the colour and arduous meditation. Born in Russia, Rothko was a leading figure in Abstract Expressionism, and
masses appear to vibrate with a misty, magical quality. emigrated to the USA with his parents in 1913. Largely his formless canvases evoke the true spirit of the
An ethereal luminosity suffuses the painting, dissolving a self-taught painter, he usually worked on a huge scale. movement — an ultimate response to the unattainable
all tension of form and contrasts of tones into an He wanted to immerse the viewer in a total colour mysteries of the human psyche.
inner glow. Restrained yet deeply evocative, Rothko’s experience, saying, ‘I paint large pictures because
works give the feeling of containing some burning I want to create a state of intimacy. A large picture is ► Heron, Kelly, Newman, Pollock, Ryman, Serra, Still

L hi 89 » wlOl cm. h74'/3 * w39% in. Tate, London

Mark Rothko, b Dvinsk, 1903. d New York, NY, 1970. Untitled. 1951-5. Oil on canvas.
 Rouau Georges Christ on the Cross

Christ, the cross and the surrounding figures are was indeed apprenticed in stained glass before entering Expressionist painting. Nevertheless, Rouault’s style

depicted in simple, outlined areas of colour. The cross the studio of Gustave Moreau to train as a painter. In was completely his own, characterized by bright,

dominates the composition and fills the entire canvas. this print Rouault has used luminous streaks of colour emotive colours and harsh black outlines.

Rich colours and crudely drawn forms add to the to express his profound religious devotion. He has
power of this image of salvation. The whole effect, used the medium of aquatint, a form of etching that
especially the heavy black lines which delineate the gives fluid, paint-like effects. The expressive, emotional
coloured areas, is reminiscent of stained glass. Rouault content of his work recalls contemporary German ► Grunewald, Kirchner, Masaccio, Pechstein, Vlaminck

464

Georges Rouault, b Paris, 1871 d Paris, 1958. Christ on the Cross. 1936. Aquatint on paper. h64.8 * w48.7 cm. h25’/2 * wl9V<i in. Private collection
Roubiliac Louis-Francois Sir Isaac Newton

This statue of Sit Isaac Newton — mathematician, and brought to a smooth, highly polished finish. Vauxhall Gardens. He became a highly acclaimed
physicist, astronomer and philosopher — proudly The resulting statue breathes an air of vitality and sculptor, gaining numerous commissions. His wide
proclaims its subject’s status as a man of unique talent. restrained exuberance. As befits the eighteenth-century range of work includes statues of men of the
The grandiose marble is imposing and monumental, Age of Reason, Roubiliac’s work exudes the calm Enlightenment and nobles, and numerous portrait
as if Roubiliac wished to convey Newton’s supreme grandeur of greatness. As a young man, he left his busts and monuments.
genius through his towering presence. The features are native France and settled in England, where he made
vividly sculpted with a superbly confident technique, his name with a statue of Handel carved for London’s ► Canova, Houdon, Moroni, Powers

465

Louis-Francois Roubiliac, b Lyons, 1702. d London, 1762. Sir Isaac Newton. 1755. Marble, hi 83 cm. h72 in. Trinity College, Cambridge
 Rousseau Henri The Monkeys

jungle derives its inspiration from Rousseau’s numer¬ untrammelled by academic training. Rousseau’s
Three monkeys peer out from behind the thick
foliage of the jungle, while an unusual bird perches ous visits to the Parisian botanical garden, the Jardin nickname Le Douanier (‘the customs agent’) stems

on a delicate branch laden with heavy leaves. The des Plantes. Rousseau was an amateur painter who from his profession in the French Customs service.

uninhibited imaginativeness of the scene is typical attracted the attention of the Parisian avant-garde
of Rousseau’s view of the world. The intense colours, when he exhibited at the Salon des Independants
crisply painted shapes and meticulous attention to in 1885. He became widely admired by Pablo Picasso
and his circle for his fresh, direct vision, so obviously ► Ernst, Gauguin, Hicks, Lam, Picasso, Vlaminck
detail demonstrate his naive style. This imaginary

466

Henri Rousseau (Le Douanier). b Laval, 1844. d Paris, 1910. The Monkeys. 1906. Oil on canvas, hi 45.5 x wl 13 cm. h57’/3 x w44'/2 in. Philadelphia Museum of Art, Philadelphia, PA
Rousseau Theodore The Forest of Fontainebleau, Morning

A simple forest scene is painted in shimmering, subdy changing dawn light. Inspired by the work began to paint the surrounding countryside with
pearly tones. Composed within an encircling arch of of Jacob van Ruisdael and other Dutch landscapists intimacy and realism. Rousseau became one of
trees, the painting is marvellously fresh and intimate. of the seventeenth century, as well as by the the founders of the Barbizon School, who aimed
The cows, enveloped by the misty, early morning Englishman John Constable, he wished to introduce to paint the scenery and peasant life of their adopted
air, are delicately reflected in the silvery puddle in a freer, un-academic style of landscape to French locale in an unprettified, direct manner.
which they stand. Rousseau has given careful attention painting. In the 1840s he setded in the village of
to the depiction of the damp forest with its pale, Barbizon, in the forest of Fontainebleau, where he ► Constable, Corot, Daubigny, Hobbema, Millet, Ruisdael

h98 * wl 34 cm. h38’/2 x w5234 in. Wallace Collection, London

Theodore Rousseau, b Paris, 1812. d Barbizon, 1867. The Forest of Fontainebleau, Morning. 1850. Oil on canvas.
 Sir Peter Paul The Judgement of Paris

Mercury, with his billowing cloak, has led three most popular of mythological subjects with the this, Rubens used rich colours inspired by the Venetian

goddesses to Paris. They are Juno, with a peacock, verve and grandeur so typical of the Baroque style masters, Titian and Veronese. Rubens’ fluid brushwork

Venus, with Cupid, and Minerva, with her helmet and that he pioneered. Sumptuous colour and sinuous and luscious colouring, and the rich emotion of

shield bearing a Gorgon’s head. Adorned with jewels brushstrokes have been used to evoke the rich sensual his compositions, contributed to his reputation as the

and very little else, the women stand before Paris female figures. In 1630 Rubens married the sixteen- greatest Baroque painter north of the Alps.

who holds the golden apple he will award to the most year-old Helene Fourment. After this date his style
became imbued with a lyrical tenderness. To achieve ► Van Dyck, Jordaens, Maillol, Titian, Veronese
beautiful of the three. Rubens has displayed this

Sir Peter Paul Rubens, b Siegen, 1577. d Antwerp, 1640. The Judgement of Paris. 1632-5. Oil on panel. hl44.8 * wl93.7 cm. h57 x w76'/4 in. National Gallery, London
Ruisdael Jacob van A Mountainous Wooded Landscape with a Torrent

Warmly spacious, with a wealth of closely observed Ruisdael instilled a sense of grandeur and drama breathing air and space into the scene. The appeal of
naturalistic detail, this landscape’s rich, autumnal tones into his works, which depict both the flat plains of Ruisdael’s work lies in its naturalistic approach. He
celebrate the beauty of the countryside. It is not a his native Holland and the more rugged and dramatic is acclaimed by many as the greatest and most versatile
static scene of chocolate-box prettiness, however; the areas of northern Germany. This painting demon¬ of all seventeenth-century Dutch landscape painters.
resdess, moving sky suggests that the weather is about strates how the expressive possibilities of the sky
to change, while the gushing river reminds us of became increasingly important to Dutch painters,
the potentially destructive power of natural forces. not only serving to balance the composition but also ► Claude, Constable, Van Goyen, Hobbema

Jacob van Ruisdael, b Haarlem, 1628. d Amsterdam, 1682. A Mountainous Wooded Landscape with a Torrent. c!655. Oil on canvas. h77.5 * w95 cm. h31 « w38 in. Private collection
 Ruscha Ed Standard Station, Ten-Cent Western Being Torn in Half

Against a pristine blue sky, the stark gleaming forms the magazine also adds to the stillness of the scene — incorporate text, were aligned with the burgeoning
of a gasoline station stretch across the surface of it appears static - fixed in place, rather than blowing American Pop art movement. First appearing in his
a huge canvas. The bold lettering and the dynamic in the wind. Encouraged by his experiences as a 1963 book Tmntysix Gasoline Stations (a photographic
diagonal composition signal the optimism and commercial artist, Ruscha rejected the popular gestural record of a section of Route 66), images of gasoline
ambitions of the modern motoring era. In the top painting of the Abstract Expressionists in favour stations have been a recurring motif in his work.
right corner is a half-torn western magazine, perhaps of a more premeditated, deadpan style. His graphic,
representing a changed landscape. The presence of brilliandy coloured compositions, many of which ► Estes, Frank, Hamilton, Hockney, Wesselmann

470

Ed Ruscha b Omaha, NE, 1937. Standard Station, Ten-Cent Western Being Torn in Half. 1964. Oil on canvas. hl65 x w308.5cm. h65 * w121Vi in. Private collection
Ruysch Rachel Still Life of Flowers

Resplendent against a backdrop of Classical buildings A further demonstration of Ruysch’s technical skill of the most successful Dutch painters of floral still
and a distant statue, a crystal vase glows with the is the inclusion of insects on the flowers, a commonly lifes, excelling at naturalistic depictions of beautiful
luminous textures of colourful flowers. The scrupulous used device at the time. Floral still lifes were a popular bouquets. Her paintings continue to be as highly prized
rendering of detail and the artist’s brilliant technique subject in Dutch seventeenth-century painting. They as the jewel-like arrangements they imitated.
give an added sense of depth and clarity to the surface were regarded not only as a celebration of nature but
of this painting. A veil of rich, creamy light descends as a symbol of the transience of life on earth: even
natural beauty will eventually decay. Ruysch was one ► Fantin-Latour, De Heem, Kalf, Vermeer
gently onto the softly depicted floral arrangement.

i. h67.2 x W55.2 cm. h26'/2 « w21% in. Private collection

Rachel Ruysch. b Amsterdam, 1664. d Amsterdam, 1750. Still Life of Flowers. 1689. Oil an canvas.
Ryman Robert Courier II

White enamel paint has been applied to a thin, unique interaction between the flatness of the and so on). From the mid-1960s he has used
unframed aluminium sheet screwed to the wall with picture’s surface and the wall-plane behind. The work’s exclusively white paint, so as not to distract attention
metal bolts. These fasteners form an integral part connection with Minimalism is demonstrated by the from these concerns. He continues to experiment with
of the blank composition, which aims to rid the lack of emotion and illusionism in the painting’s a wide range of media and brushstrokes.
painting of any trace of painterly illusion. The work construction. Ryman’s work concentrates on emphas¬
provides the spectator with an ecstatic tranquillity that izing the qualities of the materials used - both the
is constant in its intensity; it also demonstrates the paint itself and its support (canvas, plastic, aluminium ► Andre, Kelly, Mangold, Rothko, Serra, Tobey
Salviati Francesco Charity

Salviati was a great admirer of Michelangelo and this painting is too studied and self-conscious to and most convinced of the converts to a Roman ideal
has adapted the intertwined figures of the Doni Tondo merit the same status as Michelangelo’s masterpiece. of Mannerism. He took his surname from one of his
for this painting of Charity. Not only is the compos¬ Nevertheless, this work is characteristic of the early patrons, Cardinal Salviati.
ition similar, but the obsession with muscular form Florentine art of the time, which had become some¬
and the play of light over the surface of the skin are what encumbered by the genius of the previous
also derived from Michelangelo. While Salviati achieves generation. Also influenced by the graceful fluidity
a strikingly three-dimensional, sculptural quality, of the work of Parmigianino, Salviati was the earliest ► Bronzino, Michelangelo, Parmigianino, Signorelli

473

Francesco Salviati. b Florence, 1510. d Rome, 1563. Charity. 1543/5. Tempera on panel. hl56 x wl22 cm. h61V4 * w48 in. Galleria degli Uffizi, Florence
Sanchez-Cotan Juan Still Life

it goes against the tradition of northern still lifes. purpose. Sanchez-Cotan’s still lifes contributed to
Painted with astonishing immediacy and presence,
These were generally set table-pieces depicting lavishly the elevation of the genre to a status that was more
this simple still life is startlingly illusionistic. The fruit
prepared food and its trappings. Here, by contrast, than merely decorative. He became a Carthusian monk
and vegetables assume a monumental quality as a result
of their meticulous depiction and dramatic lighting the vegetables are humble and unadorned and have in 1603 and,also painted religious pictures in Granada

by the artist. The way they have been positioned — been taken out of the context of eating. The message, and Seville.

either hanging from strings or placed on an ambiguous if any, is ambiguous, but the austerity and sense
of order of the painting seem to imply some higher ► De Heem, Kalf, Ruysch, Snyders, Zurbaran
window-like structure — is highly unconventional since

Juan Sanchez-Cotan b Orgaz, 1561 d Granada, 1627. Still Life. cl600-10. Oil on canvas. h69.5 * w96.5 cm. h27’/3 x w38 in. Private collection
Sander August Pastry Chef

This photograph of a chef is a study in spheres, ‘People of the Twentieth Century’, with which Sander personal character is unmistakable in the way Sander
from the bald head and round face to the massive fist, intended to document German society. Adamant that allowed each person to present themselves, asserting
bulging belly and even the bowl that he stirs. Light photography and painting were completely different, their place in society. A selection of portraits was
streaking across the floor from the left separates his photographs are sharp and unambiguous, free from published as Face of Our Time (1929) but was banned
subject from background, and the small depth of field manipulation and non-judgemental. His purpose was in 1936 as the subjects did not conform to the Nazis’
further blurs the surroundings, isolating the figure. investigative, and his sitters were meant to represent ideal Aryan type.
The portrait was taken as part of a series called types, not to be explored as individuals - and yet ► Cartier-Bresson, Evans, Soutine

August Sander, b Herforf, Rhine Province, 1876. d Cologne, 1964. Pastry Chef. 1928. Gelatin silver print. h27.3 * w21 cm. hlOMi - w81A in. Private collection
 Sargent John Singer Carnation, Lily, Lily, Rose

At dusk in a summer garden in the village of the garden from a child’s viewpoint, the lilies outsize brush. His main influences were Velazquez, Van

Broadway, in the English Cotswolds, two litde girls and the lanterns casting a fairy-tale glow over the Dyck and Gainsborough - and his representations

light Japanese lanterns. Dolly and Polly, were the scene. Sargent’s career spanned the years of Impres¬ of contemporary socialites and power brokers in a

daughters of the illustrator Frederick Barnard, with sionism, then Fauvism and Cubism, but though he highly distinctive Grand Manner style brought him

whom Sargent stayed in the summer of 1885. Painted sometimes used Impressionistic techniques, he both commercial success and social acclaim, along

over many evenings during the ten minutes or so remained devoted to his own form of realism; he was with some critical disdain.
when the light was just right, the composition shows particularly admired for his ability to draw with the ► Chase, Degas, Orpen, Reynolds, Velazquez

476

John Singer Sargent b florence, 1856. d London, 1925. Carnation, Lily, lily. Rose 1885-6. Oil on canvas, hi74 * wl53.7cm. h68'/2 » wdOVi in. Tate, London
Sassetta Saint Francis of Assisi Renouncing his Earthly Father

This scene depicts the moment when St Francis at the feet of his enraged father and runs to the perspective and proportion than their Florentine

renounces his family in favour of life in the Church. Bishop, who offers both real and symbolic protection. counterparts; this scene is therefore not as realistic as a

Francis had given to the Church money belonging This panel was once part of a large double-sided Florentine work of the same period would be. What it
altarpiece which told the story of the life of St Francis lacks in realism, however, it makes up for in its graceful
to his father, who then appealed to the civil courts.
Francis tore off his clothes, saying that they were his and originally stood in the church of San Francesco sophistication and subtle use of colour.

father’s and he no longer recognized any father in the town of Borgo Sansepolcro. Sienese painters
of the early fifteenth century were less interested in ► Duccio, Giotto, Piero della Francesca
but God. In this scene he has abandoned his clothes

477

< w20% in. National Gallery, London

Sassetta (Stefana di Giovanni), b Siena. c!392. d Siena, 1450. Saint Francis at Assisi Renouncing his Earthly Father. 1444. Tempera on panel. h87.5 * w52.5 cm. h34»
 Savery Roelandt Orpheus

Surrounded by a modey collection of the animals assortment of flora and fauna. Although highly fan¬ his favourite subjects in magical worlds. His lively,
and birds of the forest, who are drawn by the tastic and idealized, and very much in the Mannerist detailed paintings, which are crammed with incident,
irresistible charm of his music, Orpheus reclines in tradition, the topography of these landscapes is show the influence of Jan Bruegel.
a rocky, wooded glade near a river. He is seen playing in fact based on the Alpine scenery Savery saw while
a violin, the honeyed tones of which mesmerize travelling in Switzerland in the early 1600s. He made
the colourful array of exotic creatures. Saver)' delighted several dozen paintings of Orpheus and the Garden
in richly detailed, lush, decorative landscapes with an of Eden which gave him the opportunity of depicting ► J Bruegel, Hicks, Patinir, Piero di Cosimo

Roelandt Savery. b Courtrai, 1576. d Utrecht, 1639. Orpheus. 1628. Oil on panel. h53 * w82 cm. h21 * w32 in. National Gallery, London
 Christian Portrait of Doctor Haustein

With a catheter in his breast pocket, Doctor Haustein poisoned himself when he learnt that the Gestapo painters, a group of German artists who aimed to
stares candidly out of the painting at us. Behind were about to arrest him. Schad himself was achieve a new kind of unidealized, objective realism.

him looms the menacing shadow of his lover, a model uninterested in politics and concentrated on subjects His work has all the precision and exactitude of
called Sonja. The macabre tension created by this that had psychological rather than social implications. a surgical operation, and this painting is typical
painting was almost prophetic: three years after it was Isolated and introspective, his subjects often take of his style.
completed Haustein’s wife committed suicide because on a hallucinatory degree of reality. Schad has been
of her failed marriage, and in 1933 the doctor described as the coldest of the New Objectivity ► Beckmann, Dix, Grosz, Richter, Sheeler

479

Christian Schad. b Miesbach, 1894. d Keilberg, 1982. Partrait at Doctar Haustein. 1928. Oil on canvas. h80.5 * W55 cm. h34=/s X W21% in. Fundacion Coleccion Thyssen-Bornennisza, Madrid
 Schiele Egon Seated Woman with Bent Knee

Charged with a nervous energy, Schiele’s model is Schiele’s intense and distorted images are uncom¬ ‘making immoral drawings’. The acute nervous
portrayed seated on the ground in an informal pose. promising in their expression of human feeling. intensity of his style has made him one of the most
She looks direcdy at the viewer; her gaze and pose are Deeply affected by Sigmund Freud’s explorations of important Expressionist painters, although he
erotic, yet the painting is less threatening than many the unconscious, Schiele’s work gave form to his own never formally identified himself with the movement.
of Schiele’s portraits of women. Her sinewy features, anxieties and insecurities. His career was brief but He died prematurely of influenza, just as his work
anguished hands and contorted neck make this prolific, and many of his works are sexually explicit. was recognized.
powerfully compact picture all the more disturbing. Indeed, this led to the artist’s brief imprisonment for ► Balthus, Baselitz, Klimt, Kokoschka, Munch

Egon Schiele b Tulin, 1890 d Vienna, 1918. Seated Woman with Bent Knee. 1917. Gouache, watercolour and black crayon on paper. h46 x w30 cm. h 18Ve x wl2 in. Narodni Galerie, Prague
Schmidt-Rottluff Karl Flowering Trees

The dark rich colours and harsh treatment of forms, colours of nature, but reflect the artist’s own Nazis who removed all of his paintings from
such as the violently delineated tree that dominates sensitivities and state of mind. The surging vibrancy German galleries and forbade him to paint. His work

the landscape, have been painted in a forceful and and impassioned style of this painting, and the was reinstated in 1945, from which time the artist
dynamic style which quivers with vitality. Like Vincent freedom of its execution, are characteristic of lived in East Germany.
van Gogh twenty years earlier, the artist has used German Expressionism of which Schmidt-Rottluff
heavily laden brushstrokes, applied in layered planes was a leading exponent. During the Second World
of contrasting, saturated hues. These are not the true War Schmidt-Rottluff was severely persecuted by the ► Van Gogh, Heckel, Kirchner, Nolde, Pechstein

481

h69 x w81 cm. h27Vi * w31% in. Private collection

Karl Schmidt-Rottluff. b Rottluff, 1884. d Berlin, 1976. Flowering Trees. 1909. Oil on canvas.
 Schnabel Julian Mele

The surface of this unusual and expressive portrait ‘automatic’ drawing, a form of art which was on other unconventional surfaces, including velvet and
is made from bits of broken china, onto which the supposed to come direcdy from the unconscious. tarpaulin. In the 1980s he was considered the enfant
image has been painted. Schnabel was inspired by Schnabel’s ‘plate paintings’ such as this enabled terrible of American art.
some walls in the Park Giiell in Barcelona, designed him to paint on a surface without seeing the immediate
by the Catalan architect Antoni Gaudi, which had been effect. The fragmented surface causes the image to
surfaced with a mosaic of ceramic fragments. He was recede in places, the china acting as a screen rather
also influenced by the Surrealists’ experiments with than a medium to project the image. Schnabel painted ► Motherwell, Rauschenberg, Schwitters, Twombly

482

Julian Schnabel b New York, NY, 1951 Mele. 1987. Oil and china plates on wood, h 152 * wl22 cm. h60 * w48 in. Private collection
Schongauer Martin The Madonna of the Rose Garden

It is surprising that this Madonna and Child look altarpiece shown here. This is Schongauer’s only rapid dispersion of Schongauer’s composition,
away from each other. Each seems absorbed in a documented painting, yet his talents as a printmaker thereby making his reputation over a large area of
different world, even though the Virgin tenderly cradles are evident even in paint. For example, the sharp Europe. Schongauer was much influenced by Flemish
the Christ Child and he has his arms around her neck. folds of Mary’s robe which are divided into planes art, especially apparent in the exquisite details of the
Schongauer was a pioneer in printmaking and was of light and shadow parallel the manner in which flowers and birds in this painting.
much admired by Albrecht Diirer. He concentrated an engraver would represent tones. Prints were cheap
on images of the Virgin that were very similar to the and easy to transport. This would have facilitated the ► Bouts, Campin, Durer, Lochner, Van der Weyden

483

,|. h200 * w115 cm. h78% X w45'/4 in. Saint Martin, Colmar
Martin Schongauer b Colmar, cl435. d Breisach, 1491. The Madonna of the Rose Garden. 1473. Oil on panel
 Schwitters Kurt Picture of Spatial Growths - Picture with Two Small Dogs

An assortment of items - including a used envelope, Schwitters has created art out of non-art. His random values. Schwitters was refused membership to the
a postcard, discarded packaging and bus tickets — have collection of objects undermines the traditional Berlin Dada group and established his own branch
been attached to a piece of board. Combined with notion of art as something expressive, or meaningful. in Hanover which he named ‘Merz’, a word derived
words picked at random from newspapers, and daubed A talented poet as well as an artist, Schwitters was from the proper noun Commerzbank.
with paint, they have been arranged without meaning associated with the Dadaists, a group of writers and
to form a collage. The result is a balanced, abstract artists active from 1915 to 1922, who wanted to disrupt
composition made from meaningless fragments: the public’s complacency and acceptance of traditional ► Duchamp, Ernst, Gris, Hamilton, Man Ray, Schnabel

484

Kurt Schwitters, b Hanover, 1887. d Ambleside, 1948. Picture of Spatial Growths - Picture with Two Small Dogs. 1939. Collage on board. h96.5 * w68 cm. h38 x w26% in. Tate, London
Van Scorel jan Adam and Eve

The robust, statuesque figures of Adam and Eve, forms of the figures, contained within a firm, such as the small animals in the foreground. Scorel

framed by lush trees and with a river landscape confident outline, are typical of Scorel’s style of was so famous by the mid-sixteenth century that

winding its way into the distance, dominate this scene religious painting and reveal the influence of the he was asked to restore the great Ghent altarpiece

from the Garden of Eden. Scorel was much travelled Italian Renaissance artists Michelangelo and Raphael by Jan van Eyck.

and his style of painting synthesizes the delicacy of whom the artist knew when he lived in Rome. His
his Netherlandish predecessors with the substantiality northern roots enabled him to depict the landscape
with great sensitivity and fill it with delightful details ► Diirer, Van Eyck, Van der Goes, Massys, Michelangelo
of form of Italian art. The bold nudity and the solid

Jan van Scorel. b Scorel, 1495. d Utrecht, 1562. Adam and Eve. cl540. Oil on panel. h47.6 x w31.8 cm. hi 8*4 * wl2V5t in. Private collection
 Sebastiano del Piombo The Death of Adonis

Venus learns of the death of her lover Adonis is free from the rigidity' of earlier Renaissance influenced by Michelangelo who gave him sketches
who, having been slain by a boar, lies dead in the paintings. The nudes and surrounding landscape are and cartoons to develop. The solid, muscular bodies
background. The asymmetrical composition with bathed in a delicate light characteristic of the art in this painting reflect the artist’s deep understanding
a concentration of figures on the right of the canvas, of Sebastiano’s native Venice, in particular the work of Michelangelo’s nudes.
and the pointing fingers, outstretched arms and of Giorgione who was his friend and teacher.
moving heads which create movement within the Sebastiano also worked in Rome where he came
painting, are typical of Sebastiano’s style which into contact with Raphael but he was more strongly ► Giorgione, Michelangelo, Palma Vecchio, Raphael, Titian

486

Sebastiano del Piombo. b Venice, c!485. d Rome, 1547. The Deoth of Adonis. cl511. Oil on canvas, hi 89 * w285 cm. h74'/2 * wll2Vs in. Galleria degli Uffizi Florence
Segal George Bus Riders

Four ghost-like figures appear to have been frozen the sitter’s clothes and skin. Like real people on shave their legs. The portrayal of familiar activities

in time in the everyday activity of riding on a bus. a bus these figures keep themselves to themselves. which the spectator could relate to was typical of
Segal’s intention was to portray the anonymity of Pop art, a movement which developed in America
Segal created plaster-casts of his friends and family
and placed them in familiar settings to highlight the the mundane, daily actions that are imposed on us in the 1960s.

banal but necessary activities that are routinely by the society in which we live, and to capture human¬
performed by all of us. Although rough on the outside, kind’s sense of alienation in the modern world. His
plaster men and women sit in chairs, eat in diners and ► Dine, Hamilton, Oldenburg, Rosenquist, Wesselmann
inside each cast bears the imprint of every detail of

487

Seorge Segal, b New York, NY, 1924. d North Brunswick, Nj, 2000. Bus Riders. 1964. Mixed medio. hl75.2 * w!93 cm. h69 * w76 in. Hirshhorn Museum ond Sculpture Garden, Washington, DC
 Richard Clara, Clara

Two immense plates of steel curve towards each other firebricks, logs and rusted nails, and demonstrates in despair and also much controversy. To some it offers
as if drawn by an irresistible, resonating force. The a Conceptual way a material’s ability to express energy a forlorn glimpse of a world free from mundane
sculpture dominates rather than decorates the public and develop tensions with the structures surrounding function. Serra insists that his works are illustrated
square in which it stands, its uncompromising presence its newly created form. Clara, Clara is Minimalism in black and white.
aggressively stating the power of its structural might. taken to its paradoxical extreme — the most simple,
Serra, who lives in New York, works in a variety unadorned message of purity of form amplified
of commonplace materials, including metal squares, intoa new dimension. Serra’s work has kindled awe, ► Andre, LeWitt, Noguchi, Smith

Richard Serra. b San Francisco, CA, 1939. Clara, Clara. 1983. Cor-Ten steel. h3.6 * W36.6 m. hl2x wl20ft. Originally in the Jardindes Toil.
eries. Place de la Concorde, Paris. Now in the Square de Choisy, Paris
Seurat Georges Sunday Afternoon on the Island of the Grande Jatte

Seurat has painted a typical Sunday afternoon at the planned composition in his studio. When the painting a distance the dots appear to fuse together, creating
Grande Jatte, a popular site on an island in the River was first shown it was received with great indignation a mesmerizing haze of brilliant colour. Seurat died
Seine to the north-west of Paris. He visited the Grande by the majority of artists and critics. They strongly of a severe infection at the age of thirty-two.
Jatte every day for six months to make preparatory disapproved of Seurat’s revolutionary new painting
drawings of the landscape and to sketch numerous technique, known as ‘Pointillisme’. The surface of
figures, such as the woman with her fashionable busrie the painting is broken up and the colour painted onto
and the mother and child, before creating this carefully the canvas as dots of pure colour. When viewed at ► Dufy, Monet, Pissarro, Signac, Vlaminck, Vuillard

Georges Seurat, b Paris, 1859. d Paris, 1891. Sunday Afternoon on the Island of the Grande Jatte. 1884-6. Oil on canvas. h207.5 * w308 cm. h81% * wl21 Vi in. Art Institute of Chicago, Chicago, II
 Severini Gino Pierrot the Musician

Pierrot the musician, dressed in an immaculate went on to create some masterpieces of Futurist art and the guitar, marks the artist’s movement away from

white costume which contrasts with his black mask He was much influenced by Georges Seurat, evident the influence of Futurism and Cubism and towards a

of the commedia dell’arte, sits in a room with brightly in his use of pure colour, and became friends with rekindling of the Neo-Classical spirit which dominated

patterned walls. In 1910 Severini joined the Futurist a number of Cubist artists, including Pablo Picasso. Severini’s work until his death.
movement, a group of artists and writers who The calm composition of this painting and the
expressed the dynamism of the modern world by precision and care with which Severini has executed
representing machines and figures in motion, and the stiff folds of Pierrot’s outfit, his rubbery hands ► Balia, Boccioni, Ter Brugghen, Greuze, Picasso, Seurat

490

Gino Severini b Cortona, 1883. d Paris, 1966. Pierrot the Musician. 1924. Oil on canvas, hi 30 * w89 cm. h51Ve * w35 in. Museum Boymans-van Beuningen, Rotterdam
Sheeler Charles Windows

Skyscrapers soar up into the Manhattan sky. The used to make a film called Mannahatta. These images realism to pure abstraction. The reflections suggested

windows of these thirty-six-storey buildings are not of a complex arrangement of buildings, shadows and in this painting have been influenced by Sheeler’s use

intended to give the spectator an insight into the windows inspired him to make his first ‘Precisionist’ of superimposed images in his photography.

people who live and work inside but to create an paintings. Along with Stuart Davis, Georgia O’Keeffe
abstract pattern across the surface of the precisely and others, Sheeler reveals in his work a pristine, static,
painted picture. In 1920 Sheeler took a series of unpopulated approach to the North American environ¬
ment, executed in styles ranging from photographic ► Davis, Estes, O'Keeffe, Richter, Schad, Stieglitz
photographs of New York’s skyscrapers which he

491

h32 X w20Ve in. Hirschl and Adler Galleries Inc., New York, NY
Charles Sheeler. b Philadelphia, PA, 1883. d Dobbs Ferry, NY, 1965. Windows. 1951. Oil on canvas. h81.3 * w51.1 cm.
Sherman andy Untitled No. 96

This photograph is reminiscent of Victorian art in of an ongoing series of photographic tableaux which pornographic prosthetics in a violent evocation of
its romantic portrayal of a meditative young woman. Sherman stages, acts in and directs. Sherman is the the image as a corpse and woman as victim. But
The symbolic motifs of the Pre-Raphaelites, however, ‘star’ of all her works where, heavily disguised, she Sherman’s disrespect for traditional values combines
are replaced with the brash surfaces of modernity; acts out a series of narratives often drawn from cinema with grim humour to form a powerful and original
the young woman becomes a teenager; the ‘letter’ or the history of great art. Her increasingly baroque artistic approach.
she holds is a section of the lonely hearts column; works of the late 1980s have moved into grandguignol.
and the framing is cinematic. Untitled No. 96 is one The female body is dismembered or replaced with ► Cahun, Dine, Estes, Gilbert and George, Man Ray, Millais

Cindy Sherman, b Glen Ridge, NJ, 1954. Untitled No. 96. 1981. Colour photograph. h61 * wl22 cm. h24 * w48 in. Museum of Modern Art, New York, NY
 Stephen US 97, South of Klamath Falls, Oregon, July 21, 1973

This image of a vast landscape obstructed by a banal brilliant colour sense. Shore was a leading represen¬ who had photographed Andy Warhol in The Factory,
man-made image of nature is Shore’s ironic comment tative of the so-called New Topographic school of was also influenced by Warhol’s fascination with the
on both. Published in Uncommon Places (1982), a series photography, which arose in the mid-1970s. ‘Stylistic banal and the popular — making art out of the things,
of photographs taken on road trips across the USA anonymity’ was the aim of these photographers, or the scenes, that other people regarded as non-art.
between 1973 and 1979, it exemplifies not only Shore’s who were inspired by Conceptual art; pictures were
fascination with everyday intersections between the ‘stripped of any artistic frills... eschewing entirely
American people and their landscape, but also his the aspects of beauty, emotion and opinion’. Shore, ► Adams, Eggleston, Frank, Gursky, Ruscha

493

ith Falls, Oregon, July 21, 1973. 1973. Chromogenic print. h51 * w61 cm. h20 x w24 in. Metropolitan Museum of Art, New York, NY
Stephen Shore, b New York, NY, 1947. US 97, South of Klamal
 Siberechts Jan A View of Longleat

Longleat is one of the largest and most impressive building today. Siberechts has chosen a bird’s-eye view to imbue the scene with a certain restrained formality
monuments of Elizabethan architecture. Siberechts, of Longleat, but the strict symmetry and dispassionate which would have appealed to the taste of the
a Flemish landscape painter who lived in England style of the painting has made it rather stiff and, it seventeenth-century English nobility.
from 1672, specialized in the depiction of noble could be said, more of a topographical record of
country houses and was commissioned to record this the building than a work of high art. The few figures
masterpiece of the English Renaissance just as a lingering in the grounds of the house give little
photographer might record the erection of a modern indication of courdy life, but Siberechts has managed ► Canaletto, Guardi, Pannini, Piper

Jan Siberechts b Antwerp, 1627. d London, 1703. A View of Longleat. 1675. Oil on canvas, hi 11.8 x w!72.7 cm. h44 * w68 in. Private collection
Sickert Walter Ennui

Time seems to stand still in this languid setting. A man the French Impressionists. He was also the pupil Impressionist although his work is not typical of
puffs on his cigar and stares into the distance, while of James Abbott McNeill Whisder in London. Impressionist painting. His studio in Camden Town,
a young woman head in hand and stifled by boredom, He specialized in painting landscapes, townscapes London, became a meeting-place for the avant-garde
gazes up at a painting on the wall which she must have and portrayals of daily life. These reflected the same artists and writers of his day.
looked at a hundred times before. Born in Germany interests as his friends in Paris although he differs
of Danish and Irish descent, Sickert was trained in from them in his use of sombre colours and rough
Paris, where he became friends with Edgar Degas and dark tones. Sickert was the most important British ► Degas, Gilman, Hammershai, Orpen, Whistler

495

Walter Sickert, b Munich, 1860. d Bathampton, 1942. Ennui. cl914. Oil on canvas. hl52.4 * W112.4 cm. h60 * W44 in. Tate, London
Signac Paul The Papal Palace, Avignon

Small patches of pure colour are fused together that merge together when viewed from a distance. verbalized, but his early death enabled Signac to
optically to create an image of the Papal Palace at Signac exploited the Impressionists’ discoveries about expound theories on Neo-Impressionism and the use
Avignon. On the left, picked out in hues of green, how colour changes under different light conditions. of colour. From around 1900 he abandoned the round
stands Avignon’s famous bridge. A devotee of The purples and pinks which dominate this painting, dots of Pointillism and began to use square spots
Georges Seurat’s ‘Pointillist’ technique, Signac placed for instance, are similar to the colouring of Claude of primary colours.
complementary colours next to each other without Monet’s famous visions of the cathedral at Rouen.
blending them together. The result is a series of dots Seurat himself was opposed to his ideas being over¬ ► Boccioni, Monet, Pissarro, Seurat

Paul Signac, b Paris, 1863 d Paris, 1935. The Papal Palace, Avignon. 1900. Oil on canvas. h73.5 * w92.5 cm. h29 * w36'A in. Musee d'Orsay, Paris
Signorelli Luca The Flagellation of Christ

Christ, tied to the column at the centre of the com¬ lighting, including the shadows cast on the ground, His beautiful black-chalk drawings of the body in
position, is being beaten at the behest of Pontius Pilate helps to define the three-dimensional space of motion were the most rigorous studies of the nude
who does not believe that he is the Son of God. The the scene. The muscular calves of the figures and before Michelangelo.
sculptural reliefs in the background, the Corinthian strong symmetrical composition are characteristic
capital of the column and the decorative frieze at the of Signorelli’s style of painting which was greatly
bottom of the painting reflect the Renaissance interest influenced by Piero della Francesca, his teacher,
in motifs from classical Antiquity. Strong, oblique and the brothers Antonio and Piero Pollaiuolo. ► Perugino, Piero della Francesca, Pollaiuolo, Sassetta

497

Luca Signorelli, b Cortona, c!450. d Cortona, 1523. The Flagellation of Christ. c!490. Oil on panel. h85.5 * w62 cm. h33V4 * w24% in. Pinacoteco di Brera, Milan
Siqueiros David Alfaro Death and Funeral of Cain

Crowds of people have congregated as if in antici¬ and Jose Clemente Orozco) of the school of mural imprisoned and exiled many times throughout his life.
pation of experiencing a miraculous religious vision — painting which developed in Mexico after the His impassioned style of painting has immense power
but instead a grotesque dead chicken lies slumped Revolution. The bold composition of this painting, and vitality and is ripe with dynamic and provocative
across the cliff-top in front of them. The crowd’s its striking use of colour and free mixture of reality suggestions and ideological meaning.
inability to recognize the inanity of the object they are and fantasy, influenced by the Surrealists and Mexican
venerating emphasizes the futility of their mission. folk art, is reminiscent of the artist’s work in murals.
Siqueiros was one of the founders (with Diego Rivera A political activist and revolutionary, Siqueiros was ► J C Orozco, Rivera, Snyders, Tamayo

David Alfaro Siqueiros b Santa Rosalia, 1896. d Cuernavaca, 1974. Death and Funeral of Cain. 1947. Acrylic on panel. h76 * w96 cm. h29% * w373A in. Museo de Arte Carrillo Gil, Mexico City
Sisley Alfred Snow at Louveciennes

Subtle tones of white and grey form the colour-base landscape. Sisley’s quest to capture colour and light led almost exclusively a landscape painter. His predilection
of this almost monochromatic winter scene. The him to experiment in varying atmospheric conditions. for roads and pathways leading into the painting,
thickly and distinctly applied paint gives depth and He was greatly influenced by Claude Monet with which opens fan-like in this snow-scene, reveals the
heaviness to the snow as if it is accumulating on the whom he evolved an impressionistic style. Their search influence of Camille Corot.
ground, walls and trees. The sketchily painted small to translate visual perceptions into pure effects of
figure fixes the centre of the picture and our attention, luminosity and tones is the basis of Impressionism,
and gives a sense of purpose and scale to the of which Sisley became a leading exponent. Sisley was ► Avercamp, Corot, Monet, Pissarro

Alfred Sisley, b Paris, 1839. d Moret-sur-loing, 1899. Snow at Louveciennes. 1878. Oil on canvas. h61 * w50cm. h24 * wl93Ain. Musee d'Orsay, Paris
 Sittow Michiel Katherine of Aragon

Downcast eyes, hair parted in the middle, a close- the suggestion that the sitter is Katherine of Aragon. Besides a few exquisite religious works painted in
fitting headdress and a halo heighten the mood of this Sittow was an Estonian artist who trained in Bruges brilliant but subtle colours, only a small number of
demure, tranquil and pensive portrait. It is believed under Hans Memling and continued the Netherlandish Sittow’s beautiful and highly perceptive portraits have
that the subject has been depicted as a saint in tradition of detailed portraiture while living in Italy survived - including this fine example.
deference to her pious character. The alternating Ks and Spain. His style is very smooth and realistic and
and roses of her elaborate gold necklace and the it is unlikely that a photograph of this woman would
shells which ring the bodice of her dress have led to be any more exact than the artist’s precise likeness. ► Anguissola, Clouet, Holbein, Memling

500

Michiel Sittow b Reval, 1468. d Reval, 1525/6. Katherine of Aragon. cl503/4. Oil on panel. h29 x w20.5 cm. hi 114 x w8'/8 in. Kunsthistorisches Museum, Vienna
Sluter ciauS The Prophets Daniel and Isaiah

The realistic facial expressions, the detail of Isaiah’s the Bold, Duke of Burgundy, founded a Carthusian it comprised six life-size prophets carved in stone,
two-pronged beard, the decorative brocade on the monastery at Champmol near Dijon in France. In surmounted by a wooden crucifix and five statues.
edge of his garment and the intricacy of his loosely the 13 90s he commissioned the greatest craftsmen These figures, which include the prophets Daniel and
tied belt, are all elements hitherto unseen in north available to create a group of buildings and monu¬ Isaiah, are seen as one of the most important influ¬
European sculpture. Rather than an archetypal image ments for this site. One of these artisans was Sluter, ences on northern sculpture.
of a prophet, Sluter has created a thoughtful, intel¬ who produced a large well to stand by the entrance
ligent man with an individual personality. In 1383 Philip to the ducal chapel. Known as The Well of Moses, ► Donatello, Ghiberti, Della Quercia, Van der Weyden

Claus Sluter. Active ft, Haarlem, c!380. d Diion, 1405. The Prophets Daniel and Isaiah. 1404-5. Stone. hl69 cm. h66'/2 in. Hopital la Chartreuse, Diion
 Smith David Australia

Steel plates and rods have been welded together to akin to drawing in space. The strength and flexibility it has been suggested that the present work could be
create a large abstract form. In defiance of the weight of the steel rods enabled Smith to create open interpreted as the abstracted form of a kangaroo.
of its material the sculpture appears light and full expansive forms in which negative space becomes
of energy, as if poised to spring free from its heavy an integral part of the work. Originally a painter. Smith
base. Smith rejected traditional modes of sculptural was inspired to work with welded metal in the 1930s
production, based on the monolithic block of stone after seeing photographs of sculptures produced by
or bronze, instead choosing to work in a way that was Picasso and Julio Gonzalez. Partly because of its tide, ► Caro, Chamberlain, Picasso, Tatlin

David Smith, b Decatur, IN, 1906. d South Shaftsbury, VT, 1965. Australia. 1951. Painted steel on cinder block base. h202 * w274 x |41 cm. h79'/2 x wl07% x dl6!/e in. Museum of Modern Art, New York, NY
Smithson Robert Asphalt Rundown

A truck tips a load of asphalt down a gravelly hillside. innovator of Land art. Unlike gallery exhibited art same year that Asphalt Rundown was completed,
The sticky black substance creates a dark shadowy objects (which could be readily moved) these large- the artist started construction of his most iconic
stain. With relatively little control over the form that scale works were site-specific. Since Land artists tended ‘earthwork’, Spiral Jetty. Smithson was tragically killed
the finished work takes, the artist’s role is that of to work with natural materials in locations far from in a plane crash whilst inspecting one of his works
an instigator. Although earlier in the decade he had the urban centres of the contemporary art world, in 1973.
produced Minimalist-type sculpture, with Asphalt most viewers experience these often-temporary works
Rundown Smithson signalled his position as an though the non-site medium of photography. In the ► Adams, Heizer, Long, Matta-Clark, Soulages

503

Robert Smithson, b Passaic, NV, 1938. d Amarillo, TX, 1973. Asphalt Rundown. October 1969. Mixed media. Dimensions variable. Rome
Snyders Frans A Game Stall

A man in a dandified costume holds a dead peacock drama that is marvellously rendered in sumptuous Jordaens and his close friend Peter Paul Rubens with
amid a panoply of plumed poultry and game in this colouring and with great craftsmanship. Snyders whom he collaborated to paint the still-life and animal
richly stocked market stall. His two dogs look on painted many vigorous hunting scenes and was the parts of his exuberant hunting scenes.
inquisitively, tempted by the tasty morsels on display. first painter to specialize in animal still lifes (large
Snyders was concerned with the whole effect of compositions featuring fruit, flowers, dead game and
colour, texture and feeling. No part of this canvas is so on). His talent and luscious painting style were
left free of meticulous detail, creating a visual gourmet highly praised by his contemporaries, including Jacob ► Fabritius, De Heem, Kalf, Rubens, De Troy

Frans Snyders b Antwerp, 1579. d Antwerp, 1657. A Game Stall. 1620s. Oil on canvas, hi 70 x w254 cm. h67 * wlOO in. York City Art Gallery, York
Sodoma The Descent from the Cross

Billowing draperies of oranges, reds, greens and blues including Leonardo da Vinci, also used landscape Despite this team effort, the painting would still have
add vibrancy to this scene of Christ’s body being taken as a background feature. Renaissance paintings such been considered a product of the master’s hand.
down from the cross. Sodoma’s work is characterized as this were often made by a group of artists, or Born in Lombardy, he worked in both Siena and Rome
by beautiful colours, subde effects of light and a poetic workshop, working under one master. The master where he received many important commissions.
feel for landscape. The background in this painting was responsible for the composition and for painting
is believed to have been inspired by Flemish painters key elements of the work, while his assistants would
such as Jan van Eyck, although many Italian artists, complete the background and secondary figures. ► Van Eyck, Leonardo, Memling, Signorelli, Van der Weyden

505

Sodoma (Giovanni Antonio Bazzi). b Vercelli, 1477. d Siena, 1549. The Descent from the Cross. c!505/10. Oil on panel. h414 * w264 cm. h!63 * w104 in. Pinacoteca Nazionale, Siena
 Soulages Pierre Painting 16

Strong broad strokes of black paint sweep down the to the Art Informel movement is demonstrated by Auvergne. Soulages’ paintings often consist of broad
canvas in a heavy, bold formation. The large black the constrained freedom of the brushstrokes which bands, usually as black and shiny as patent leather,
mass, intensified by the contrasting small white gleams have been articulated to create a powerful abstract intersecting one another to form latticed structures
of light, gives the painting a monumental and serene composition. Born in south-west France, Soulages against bright colours.
aspect. It is this skilful illumination, combined with the settled in Paris in 1946 and started to work in an
sculptural quality of the distinctive forms, which abstract style that is reminiscent of the prehistoric
makes the picture so unique. The work’s connection dolmens and Romanesque sculpture of his native ► Hartung, Kline, Riopelle, Da Silva, De Stael

506

Pierre Soulages b Rodez, 1919. Painting 16. 1965. Oil on canvas, hi62 * wl30 cm. h64 * w51 in. Private collection
Soutine Chaim The Little Pastry Cook

Thick smears of paint animate the surface of this of his contemporaries and was indifferent to the experi¬ revealing portraits of valets and bakers. The highly
picture. The distorted forms and excited colouring ments of the Fauves and the Cubists. He preferred charged movement and impulsive brushstrokes
give an air of disjointed vivacity to the cook. to paint in his own unique style and declared a close in his paintings anticipate the free style of Willem
Soutine’s turbulent style was influenced by the affinity with Old Masters such as Rembrandt. Born de Kooning and embody the spirit known
expressive and dynamic work of Vincent van Gogh, in Lithuania, Soutine moved to Paris in 1915. His usual as Expressionism.
although he protested not to like the Dutchman’s subjects were still lifes, tempestuous landscapes - with
work. Indeed, Soutine claimed to despise the work dark clouds and moving trees — and psychologically ► Bacon, Van Gogh, De Kooning, Rembrandt, Schiele

507

Chaim Soutine, b Smilovichi, 1893. d Paris, 1943. The Little Pastry Cook. cl922. Oil on canvas. h72 x w54 cm. h28'/3 x w2H4 in. Musee de I'Orangerie, Paris
Spencer Sir Stanley Saint Francis and the Birds

A naive and enlarged figure of St Francis, his surface a tapestry-like pattern, while the figures are Cookham in Berkshire. Francis is clad in green rather
back towards us, gesticulates wildly with his arms solid, almost cylindrical in form. This imaginative than his usual brown habit because Spencer used his
outstretched as he looks up to the sky. Ducks, and lively painting was rejected by the Royal Academy, father, who wore his dressing-gown and bedroom
hens and birds on the roof gaze upon him as if in probably because its outrageous humour offended slippers, as. the model for the saint.
adoration. The large figure dominates the canvas; the arbiters of good taste. Spencer depicted
strangely, his hands have been reversed. The paint Christianity as a living, everyday experience and drew
has been applied in broad, flat swathes giving the most of his inspiration from the small village of ► Botero, Gauguin, Rego, Rivera, H Rousseau, Sassefta

Sir Stanley Spencer b Cookham, 1891 d Taplow, 1959. Saint Francis and the Birds. 1935. Oil on canvas. h71 x w61 cm. h28 x W24 in. Tate, London
Spilliaert Leon Moonlit Beach

At first glance the strong lines and broad bands of seem limited — become richer as the eye begins of form in haunting landscapes that are devoid of
tone in this picture make it look like an abstract work to appreciate the subtie differences in tones and the human life. Most of these paintings were executed in
of art. As the viewer’s eye becomes accustomed to the searing white of the rising moon. The artist has and around his native Ostend.
painting, however, a beach scene becomes apparent; concentrated on the effect of moonlight on a beach
the sweeping, pale light of the moon highlights waves at night rather than a realistic depiction of the scene,
coming into the shore and dark breakwaters stretching and has thus captured effectively the mood of this
into the sea. Similarly, the colours — which at first solitary place. Spilliaert is known for his economy ► Grimshaw, Krayer, Le Gray, Marin, Mucha

Leon Spilliaert. b Ostend, 1881. d Brussels, 1946. Moonlit Beach. 1908. Ink, watercolour and pencil on paper. h50 * w65 cm. h!9% * w25'/2 in. Private collection
 De Stael Nicolas Red Bottles

The vibrant luxuriousness of the paint in this still interplay between and control of powerful hues themes from this period were musicians, athletes,
life is used by De Stael to convey a calm beauty. The of exquisite colour and form. De Stael has eliminated nudes and still lifes. De Stael committed suicide shortly
space around the botdes is almost as rich as the objects background, ornament and outline, a feature which after this picture was painted.
themselves which float in the creamy texture of characterixes his lyrical style. He began his career as
the paint’s surface, evoking a sense of timelessness. an abstract painter, and was much influenced by
The painting’s importance lies in its delicate balance Georges Braque, but as he began to paint more freely
of abstract and representational imagery, and its his paintings became more figurative. His favourite ► Braque, Morandi, B Nicholson, Vieira da Silva

510

Nicolas de Stael b St Petersburg, 1914. d Antibes, 1955 Red Bottles. 1955. Oil on canvas. h73 * wl 00 cm. h283A * w393/e in. Private collection
Steen jan The Christening Feast

A proud father holds his new-born child while friends eggs, a well-known symbol of mortality. This is to becoming an inn-keeper. It is certain that this and
and relations gather round to gossip, admire the baby remind us of the death that waits for everyone, even many other paintings were influenced by the
and to partake of the christening feast being prepared at the celebration of a birth. Steen was one of the most merrymaking he saw at that time.
by the three women on the right of the painting. This popular of all Dutch genre painters. A pupil of Jan van
happy, bustling tableau accurately depicts a typical Goyen, he initially painted landscapes but went on to
scene in a seventeenth-century Dutch household. In depict scenes of middle-class life. The son of a brewer,
the foreground, however, the artist has painted broken he supplemented his artist’s income from 1654 by ► Dou, Van Goyen, Van Ostade, De Troy, Watteau

Jan Steen, b Leiden, c!626. d Leiden, 1679. The Christening Feast. 1664. Oil on canvas.i. h89 x wl 09 cm. h35 * w423A in. Wallace Collection, London
 Steichen Edward The Pond - Moonlight

A row of shadowy trees, back-lit by the rising moon, Steichen experimented with a variety of novel tech¬ sensitive gums. Only three prints of The Pond-
is reflected in the soft, dreamy, still surface of a pond. niques, including pouring liquids on camera lenses and Moonlight are known to exist. Each version — printed
Representative of Steichen’s preference for capturing shaking the camera during exposure. His expressive, using different photographic techniques, and under
scenes in partial darkness or twilight, The Pond — painterly images were central in establishing the status the supervision of Steichen - is unique.
Moonlight'vs, a masterpiece of early pictorial photog¬ of photography as a fine art medium. Predating the
raphy. Committed to showing that the camera could be widespread introduction of colour photography,
used for more than documentation, in his photography the current example was reworked by hand using light- ► Eliasson, Grimshaw, Le Gray, Monet, Stieglitz

512

Edward Steichen b Bivange, 1879 d West Redding, CT, 1973. The Pond - Moonlight. 1904. Platinum, cyanofype, and ferroprussiate print. h38.7 * w48.2 cm. hl5’/4 * wl9 in. Museum of Modern Art, New York, NY
Stella Frank Kastura

This massive wall-relief is constructed from sections abstract cut-outs challenge the traditional confines Expressionism, evident in the freely applied paint.
of brightly painted aluminium which have been of the picture plane as their freedom of construction Stella’s wide range of work includes highly innovative
fixed to a rectangular base. Stella has skilfully balanced permits no defined edges. The work shows a number prints, some of which are monumental in size.
the monumental quality of the work with the apparent of influences. One of these is Minimalism, demon¬
freedom of its support, offered by a discreet curved strated in the use of mass-made material and the
grille structure which permits the spectator to see industrial method of enlarging a maquette which was
through to the wall behind. The three-dimensional hand-made by the artist. Another is Abstract ► Caro, Hofmann, Johns, Kelly, Pollock, Ryman

513

Frank Stella, b Malden, MA, 1936. Kastura. 1979. Oil and epoxy on aluminium and wire mesh with metal tubing. K292.1 * W233.7 cm. hi 15 * w92 in. Museum of Modern Art, New York, NY
Stieglitz Alfred The Flatiron Building

The recently completed Fuller Building towers high of this period, Stieglitz was influenced by the designs gallery in New York, he organized some of the earliest
above the trees of a snow-covered Manhattan park. of Japanese woodcut prints — evident in the current exhibitions in America of numerous contemporary
Nicknamed the Flatiron because of its distinctive image in the silhouetted tree and the tiny figures European artists, including Pablo Picasso, Henri
shape, the narrow verticality of the office block (at the passing through the park. As well as helping to Matisse and Constantin Brancusi. Stieglitz was married
time the tallest in New York) is carefully framed by establish photography as a fine art medium, Stieglitz to the American painter Georgia O’Keefe.
the tree in the foreground. It forms a stark contrast actively promoted the work of avant-garde painters
between nature and the man-made. In his photography and sculptors. As founder and manager of the 291 ► Frank, Hiroshige, O'Keefe, Sheeler, Steichen

Alfred Stieglitz b Hoboken, NJ, 1864 d New York, NY, 1946. The Flatiron Building. 1903. Gravure on vellum. h32.8 x wl6.8 cm. hi 2% x w65/b in. Museum of Modern Art, New York, NY
 Clyfford Painting, 1944

The black expanse of paint, applied with a palette Still broke new ground with his thickly applied Like his fellow Abstract Expressionists Jackson Pollock,
knife, is interrupted by a jagged red line which cuts abstract areas of colour which appear like slabs of Barnett Newman and Mark Rothko, Still tended to
through it like lightning and is in turn sliced through earth, and his diverse textural surfaces. His paintings work on a massive scale. From 1961 he lived in rural
with yellow and white streaks of fire. Typical of were an early example of Abstract Expressionism Maryland in virtual isolation from the New York art
Still’s style, this work was painted at a formative period which, reminiscent of the Surrealists and their world which he scorned.
when most of his contemporaries were working with ‘automatic’ painting, sought to release the creativity
archaic themes, literary subjects and mythical creatures. of the unconscious mind by emphasizing spontaneity. ► Burri, Motherwell, Newman, Pollock, Rothko

515

Clyfford Still, b Grandin, ND, 1904. d Baltimore, MD, 1980. Painting, 1944. 1944. Oil on canvas. h264.5 x w221.4cm. hi 04V4 * w87'4 in. Museum of Modern Art, New York, NY
 Thomas Pantheon, Rome

Thomas Struth began as a painter, studying under artificially lit, but it echoes the theme of his ‘Museum’ the presence of ‘the sublime in the mundane’ are
Gerhard Richter in the early 1970s, before coming series, in which he photographed the tourist-filled clearly exhibited here, as is what critics have called
under the influence of photographers Bernd and museums and churches — pictures of people looking the ‘double subject’ of his photographs - not merely
Hilla Becher and their precise black-and-white studies at pictures, underlining the relationship between the the place and the people shown, but also the ‘mental
of industrial structures. Many of his photographs viewer and the work. The Pantheon was first a temple spaces’, the events and ideas that shaped them.
communicate a sensibility to art history and the fine to all the gods, then a Catholic church, and is now
arts. Unusually for Struth, this image was staged and a tourist attraction. Struth’s interest in history and in ► Becher, Gursky, Richter, Wall

Thomas Struth b Geldern, 1954 Pantheon, Rome 1990. Chromogenic colour print, hi 83.5 x w238 cm. h72!4 x w933/4 in. Private collection
Stuart Gilbert George Washington

Reflecting the ideals of the country over which eighteenth century Stuart was the most celebrated Gainsborough and Sir Joshua Reynolds, which
he presided, this portrait of the first President of American portraitist. He lived to paint all of the he infused with a characteristically frank American
the United States is an honest representation executed first five Presidents. During the American War of approach. His portrait of Washington is used as
without pomp. The muted colours sublimate the Independence he lived in London and studied with the the basis for the President’s image on dollar bills.
background in favour of the face, which is painted history painter Benjamin West, a fellow countryman.
with great realism to reflect Washington’s trustworthy He returned to North America with an understanding
and capable character. At the beginning of the of the portraiture of the British artists Thomas ► Gainsborough, Houdon, Lawrence, Reynolds, West

Gilbert Stuart, b North Kingstown, Rl, 1755. d Boston, MA, 1828. George Washington. 1795. Oil on canvas. h76.8 * w64.1 cm. h30Vi * w25Vi in. Metropolitan Museum of Art, New York, NY
Stubbs George Mares and Foals in a Landscape

With a deft and steady hand, Stubbs has faithfully of horses, dogs and wild animals for noble patrons. mechanics of movement. His paintings are more than
and delicately reproduced the horses and the foliage Primarily an anatomist, his depictions of horses came mere scientific studies, however, and show a masterful
above them. The minutely observed details, such from hours of observation and scientific study. To understanding of design and composition.
as the tail hairs and hooves, the individual colouring assist him in his work Stubbs drew detailed anatomical
of each horse and the delicately painted leaves of the studies from every conceivable angle, thoroughly
oak tree, have been captured with remarkable accuracy. examining the bone and muscle structure of horses
Stubbs earned an unrivalled reputation as a painter in order truly to understand how to portray the ► Agasse, Audubon, Bassano, Marc, Marini

George Stubbs, b Liverpool, 1724. d London, 1806. Mores and Foals in a Landscape. 1763-8. Oil on canvas. h99.1 * W158.8 cm. h39 x w62'/! in. Tate, London
Sutherland Graham Portrait of Somerset Maugham

William Somerset Maugham, the English novelist and religious paintings and in his later years became a appeared it was criticized for making Maugham look
playwright, sits against a vibrant yellow wall looking successful portrait painter of the famous. His semi¬ like ‘an old Chinese madam in a brothel in Shanghai’
quiedy dignified. His features are almost caricature-like, abstract style, balanced by a superb draughtsmanship, and his famous portrait of Winston Churchill was
especially his jowls and jutting chin, which appears to always followed the laws of realism but his use of so loathed by Lady Churchill that she destroyed it
push his head out of the picture, towards the viewer. amorphous-like forms and agonized imagery, which following her husband’s death.
Sutherland was one of the leading British artists of the had a strong influence on the young Francis Bacon,
twentieth century. He painted many landscapes and created much controversy. When this painting first ► Auerbach, Bacon, Freud, Organ

Graham Sutherland, b London, 1903. d London, 1980. Portrait of Somerset Maugham. 1949. Oil on canvas. hl37* w64cm. h54 * w25'/e in. Tate, London
 Tamayo Rufino Woman with Red Mask

Painted in glowing sensuous colours, a woman — the artist incorporating angular outlines. It is very of the Mexican people and their folklore. This was
wearing a red mask and with a mandolin on her likely that it was painted straight onto the canvas painted before Tamayo’s first visit to Europe in 1950.
knees — sits upright on a chair. The sense of mystery without the use of a preparatory sketch. Like his He also worked for a long time in the USA.
surrounding the figure is enhanced by the intentionally fellow Mexican Diego Rivera, Tamayo combined
limited yet vibrant colour-range of the artist’s palette. Mexican folk themes with a diversity of European
Tamayo was deeply influenced by Pablo Picasso and styles, chiefly Cubism, Surrealism and Expressionism,
the Cubists. This is one of the first works executed by and consistendy demonstrated the pictorial values ► Jawlensky, J C Orozco, Picasso, Rivera, Severini

520

Rufino Tamayo b Oaxaca, 1899. d Mexico City, 1991. Woman with Red Mask. 1940. Oil on canvas, hi 21 * w85 cm. h54% * w3334 in. Private collection
Tanguy Yves The Invisibles

Abstract, biomorphic shapes climb rapier-shaped animals who have escaped man’s sensory frame of tend to inhabit barren, hallucinatory landscapes of the
objects and appear to float upwards against a reference by means of camouflage. The painting’s mind. Neatness and precision were deeply ingrained
menacing, clouded sky. Tanguy was much influenced visionary quality is a clear illustration of Surrealist in his personality, and these qualities are also evident
by De Chirico and joined the Surrealist movement imagery: Tanguy has allowed his subconscious to in his paintings.
after meeting the Surrealist writer and guru Andre ‘create’ these beings, whose existence is uncertain yet
Breton in 1925. The title and theme of this painting impossible to disprove. This is a common theme in
refer to Breton’s idea of the existence of invisible much of his Surrealist art, where amorphous creatures ► Bellmer, Brauner, De Chirico, Matta, Miro

Yves Tanguy, b Paris, 1900. d Woodbury, CT, 1955. The Invisibles. 1951. Oil on canvas. h98.5 * w81 cm. h38% x w31% in. Tate, London
 Tapies Antoni Grey Ochre

The thick surface of this painting has been incised powdered pigment or latex, for example, to create considered the most important post-war Spanish
and lacerated by the artist to evoke feelings of desola¬ huge desolate surfaces which he covered with creases, artist and his work has achieved international acclaim.
tion and anger, and a sense of the ravages of time. incisions and fossil-like imprints. A sense of elapsed Later in his career he produced heavy clay sculptures
It represents a physical, forbidding obstacle yet also time, intimated by the ravaged surface of the paint, of everyday objects such as baths and chairs.
conveys a certain beauty and elegance through its apparently worn by a duration greater than that of
partial destruction. Tapies experimented with different the artist’s hand, is one of the key elements that gives
materials, combining oil paint with crushed marble, Tapies’ work its enduring power. Tapies is widely ► Burri, Dubuffet, Fautrier, Hartung, Riopelle

522

Antoni Tapies b Barcelona, 1923. d Barcelona, 2012. Grey Ochre. 1958. Oil and marble dust on canvas. h259.7 x wl94.3 cm. hl02’/4 x w76'/2 in. Tate, London
 I n Vladimir Monument to the Third International

Created in a moment of political enthusiasm, this art movement that grew out of artistic experiments employing exclusively geometric forms. This master¬
leaning spiral was designed to be twice the height of with abstraction but later turned to more utilitarian piece, a symbol of Constructivist ideals combining
the Empire State Building in New York and to have concerns. He advocated the idea of the ‘artist the disciplines of sculpture and architecture, was never
alternately rotating central sections. Space is ordered engineer’ and saw the primary role of Constructivism constructed. The piece illustrated is a modern replica
into fragmented compartments that are formally as fulfilling social needs. Tatlin also created a series of the original model.
related to each other as in a mathematic equation. of hanging relief constructions using a variety of
Tatlin was the founder of Constructivism, a Russian materials such as wood, metal, glass and wire and ► Gabo, Lipchitz, Malevich, Popova, Rodchenko, Sheeler

523

Vladimir Tatlin. b Kharkov, 1885. d Novodevichye, 1953. Monument to the Third International. 1919. Wood, iron and glass. h420 cm. hl65'/s in. Musee National d'ArtModerne, Paris
 Teniers David The Archduke Leopold's Gallery

A patchwork of paintings is on display in this gallery with recognizable paintings by Titian, Peter Paul He made many copies of the pictures in the collection
belonging to the Regent of the Spanish Netherlands, Rubens, Raphael, Giorgione and Annibale Carracci, and produced over 2,000 paintings, of every kind
Leopold Wilhelm of Austria. There was a widespread among others, many of which are now in the of subject, during his long and prolific career.
growth in art collecting during the seventeenth Kunsthistorisches Museum in Vienna. The large,
century when aristocrats, noblemen and rich bankers bearded figure of the Archduke is being shown the
accumulated vast numbers of works by contemporary paintings by Teniers himself who was appointed Court
artists and Renaissance masters. This room is crammed Painter to the Archduke and Keeper of his paintings. ► Bazille, Dou, Metsu, Vermeer, Zoffany

David Teniers (The Younger), b Antwerp, 1610. d Brussels, 1690. The Archduke Leopold's Gallery. 1651. Oil on canvas, hi27 * wl62.6 cm. h50 * w64 in. Petworth House, Petworth
Thiebaud Wayne Various Cakes

A display of delicious cakes has been painted in though they were on display in a cafeteria, presenting artist at the age of twenty-nine. He now lives
bright, lurid colours - making them appear even more them almost as ritualistic offerings to the spectator. and works in Sacramento and San Francisco and
false and synthetic than they are in reality. Thiebaud’s The blatant rendition of the unmistakable consumer concentrates more on the landscapes and cityscapes
early work was devoted to the depiction of all- items, concentrating on their texture, colour and shape, of his immediate environment.
American foods, especially pies, which he executed makes the painting an important example of American
in an impassive, realist style using thick, juicy pigment. Pop art. Thiebaud worked as a freelance cartoonist and
He often repeated variations of a single object as illustrator in New York before deciding to become an ► Dine, Morandi, Oldenburg, Rosenquist, Wesselmann

525

Wayne Thiebaud. b Mesa,AZ, 1920. Various Cakes. 1981. Oil on canvas.,. h63.5 x w58.4 cm. h25 * w23 in. Private collection
 Tiepolo Giovanni Battista The Meeting of Antony and Cleopatra

The Egyptian queen Cleopatra, dressed and coiffed Labia, once the home of wealthy Venetian textile collaborated with Girolamo Mengozzi Colonna,
in eighteenth-century finery, is greeted by the Roman merchants. The work magnificently illustrates the skills a specialist in architectural illusions who also designed
general Marc Antony, while her barge floats behind for which Tiepolo, arguably the greatest painter of operatic stage sets. Together they created works of art
her on a pretty sea. The story of the star-crossed his day, was feted: his theatrical celebration of ancient that fulfilled the eighteenth-century view of painting
lovers was a popular one in the eighteenth century; history and myth, in paintings full of brilliant colour, as theatre — a story acted out in pictures.
this depiction, one of a pair of vast frescoes on an full of artistic caprice (capriccio) and imaginative fantasy
operatic scale, decorates the ballroom of the Palazzo (fantasia). For large frescos such as this, Tiepolo ► Amigoni, Boucher, Fragonard

526

Giovanni Battista Tiepolo b Venice, 1696. d Madrid, 1770. The Meeting of Antony and Cleopatra. cl750. Fresco. h650 x w300 cm. h256 x wl 18 in. Palazzo Labia, Venice
Tinguely Jean Trophy of Chasse-Le-Golem

This ramshackle sculpture is created from a variety the sculpture connects it to the Kinetic Art movement, a number of public events which involved the
of incongruous objects that have been welded based on the idea that light and movement can construction and rapid deterioration of machines,
together. The addition of an electric motor enables create a work of art, while its use of manufactured the most famous of which occurred at the Museum
the static object to be transformed into a living work items together with its exhibitionist nature make it of Modern Art in New York in March i960.
of art. When the electric current is turned on the a late example of New Realism. Throughout the late
wheel slowly begins to revolve, clanking and groaning 1950s and 1960s Tinguely created self-propelling, edible
the assemblage into action. The motile quality of and musical machines. He is renowned for organizing ► Colder, Klein, Nauman, Viola

527

Jean Tinguely, b Fribourg, 1925. d Bern, 1991. Trophy of Chasse-Le-Golem. 1990. Iron, steei, rubber band, electric motor and hippopotamus jaw-bone, hi 77.8 cm. h70in.Gimpel Fils Gallery, London
 Tintoretto Jacopo The Annunciation

The Archangel Gabriel, accompanied by numerous Tintoretto’s early years but he claimed to be a pupil his long and prolific career he left the city just once,

cherubs, violently bursts in upon a startled Virgin. In of Titian. He is representative of the Italian Mannerist for a brief visit to the city of Mantua.

contrast to contemporary scenes of the Annunciation, style and his work is marked by its outstanding sense of
the Virgin is represented living in a house of decayed drama, achieved by the use of unexpected viewpoints
splendour and she is dressed in simple clothes. Out¬ and striking perspective, extreme contrasts of scale and
side, Joseph works on his carpentry, unaware of the brilliant effects of light and colour. Tintoretto became
dramatic events occurring within. Little is known of the embodiment of Venice’s cultural energies; during ► Fra Angelico, Bordone, Martini, Palma Vecchio, Titian

528

Jacopo Tintoretto b Venice, 1518. d Venice, 1594. The Annunciation. 1583/7. Oil on canvas, h421.6 x w544.8 cm. hi66 x w214!6 in. Scuola Grande di San Rocco, Venice
Tissot James Holiday (The Picnic)

Yellowing leaves of the chestnut tree shade a group artists such as Edouard Manet. His style is also akin deserved revival in popularity; for many years they
of well-dressed men and women who are enjoying to that of the Impressionists, who were working at were regarded as the epitome of late Victorian vacuous
a picnic beside a pond. The canvas, painted in the exactly the same time as Tissot, but his paintings differ and decadent society.
backyard of Tissot’s London house, which was near in their crystal-clear vision and elegant society subjects.
Lord’s Cricket Ground, sparkles with colour and Tissot often focused on finely dressed women,
exquisite detail. In his depiction of daily life in an adorned in the latest fashions and casting a spell over
outdoor setting, Tissot shares the realism of French their men. His paintings have recently enjoyed a well- ► Dufy, Fragonard, Manet, Renoir, Sargent

James Tissot. b Nantes, 1836. d Bullion, 1902. Holiday (The Picnic), cl876. Oil on canvas. h76.2 * w99.4cm. h30 » w39'/s in. Tate, London
 Titian Diana and Actaeon

Sumptuous colour, captivating movement and glimpsed her divine nudity that she transforms During his last years his style developed a very free
harmonious composition mark this as a masterpiece him into a stag, to be hunted to death by his own handling which almost anticipated the work of the
of Titian’s work. The young prince Actaeon has hounds. Titian’s imaginative powers reached their Impressionists in its rendering of colour and light
stumbled upon Diana, the virgin huntress and symbol zenith in the interpretations of ancient legends and and ease of form.
of chastity (identified by her crescent moon), who Classical myths which he created during the 1550s at
is bathing with her nymphs in a remote grotto in the the instigation of Philip II of Spain, his principal
forest. Diana is so incensed at Actaeon for having patron. Titian was the greatest of Venetian painters. ► Guercino, Lotto, Rubens, Veronese, Vouet

530

Titian (Tiziano Vecellio). b Pieve di Cadore, c!488/9. d Venice, 1576. Diana and Actaeon. 1556-9. Oil on canvas, hi 84 x w202 cm. h72’/2 * w79’/2 in. National Gallery of Scotland, Edinburgh
Tobey Mark White Journey

The surface of the paper swarms with minute abstract of the Abstract Expressionist movement, notably as one of America’s foremost painters and enjoyed
signs and scratches of paint creating an apparently Jackson Pollock, Tobey pursued a unique parallel a strong reputation in Europe which was developed
chaotic pattern. The frenetic rhythm created by these development partly through the influence exerted on by his highly successful and influential Swiss dealer
intricate and delicate lines is typical of Tobey’s style; him by the Far East. He was deeply influenced by Ernst Beyeler.
it is this sophistication and dynamism that has made Chinese calligraphy and was one of the first American
his work so popular with collectors. Although the intellectuals to become interested in Zen Buddhism.
composition is similar to paintings created by members Tobey achieved international recognition in the 1950s ► Kline, Marden, Pollock, Riopelle, Ryman

Mark Tobey. b Centerville, Wl, 1890. d Basel, 1976. White Journey 1956. Distemper on paper, hi 13.5 » w89.5cm. h44% * w35'/s in. Beyeler Collection, Basel
Toulouse-Lautrec Henri de Dance at the Moulin Rouge

The Moulin Rouge, a dance hall in Montmartre, Paris, whole nights at the Moulin Rouge, drinking and always felt isolated from society by his deformity.
still exists today. At the end of the nineteenth century sketching music-hall stars and members of royalty He preferred the company of the marginal classes
it was a popular venue for middle-class gendemen who wandered into this dark, somewhat seedy world. and surrounded himself with the actresses, clowns,
who, accompanied by women of dubious character, The rapid style and visible brushstrokes of this dancers and prostitutes who became the subjects of
were entertained by lively spectacles and dancing. work show that Toulouse-Lautrec painted it as he his paintings.
Toulouse-Lautrec, now one of the best known of sat in the dance hall. An aristocrat by birth who was
all nineteenth-century French artists, frequendy spent severely disabled in childhood, Toulouse-Lautrec ► Degas, Laurencin, Renoir, Seurat, Severini

Henri de Toulouse-Lautrec, b Albi, 1864. d Gironde, 1901. Dance at the Moulin Rouge. 1890. Oil on canvas, hi 15 x wl50 cm. h45'A * w59 in. Philadelphia Museum of Art, Philadelphia, PA
De Troy Jean-Francois The Oyster Lunch

Inside a sumptuously decorated Rococo palace, and the bottles left to cool in the ice-cabinet, give director of the Academie de France in Rome. There he
a group of wealthy nobles, dignitaries and aristocrats a sense of the extravagance of this event. The painting is alleged to have died of grief upon receiving the
are enjoying a lavish feast of oysters and champagne. was commissioned by Louis XV for his private apart¬ terrible news that he was to return to France and leave
De Troy’s rich use of colour, influenced by the work ments at Versailles. De Troy enjoyed a great reputation behind the woman he loved.
of Titian and Peter Paul Rubens, and the meticulous in his day as a skiltul decorator, portraitist and genre
attention paid to details, such as the crusty bread painter. He spent much time in Italy enjoying social as
on the table, the baskets of oysters in the foreground well as artistic activities and in 1758 he was appointed ► De Heem, Kalf, Lucas van Leyden, Rubens, Titian

533

Jean-Francois de Troy, b Paris, 1679. d Rome, 1752. The Oyster Lunch. 1735. Oil on canvas, hi 86 x wl20 cm. h73'/4 * w47'4 in. Musee Conde, Chantilly
 Turner J M W Snowstorm: Steamboat off a Harbour's Mouth

A small ship is caught in the heart of a storm and during his lifetime but today he is regarded as the effects of a storm, he is said to have had himself tied
struggles to keep afloat. The sea, snow and smoke most masterly of British painters. His work in for four hours (at the age of sixty-seven) to the bridge
from the ship’s engine have been sucked together watercolours and oils captures the magical effects of of a steamboat, sailing from Harwich in bad weather.
in a swirling mass of lashing wind and spray which light, colour and movement in pale glowing colours.
Turner has captured with all the unhesitating Towards the end of his life Turner showed particular
spontaneity of a modern abstract artist. Well ahead interest in the conflict between the elements. In order
of his time, few people understood Turner’s work to paint this picture and capture the true atmospheric ► Church, Cozens, Friedrich, Martin, Monet, Pollock

J M W (Joseph Mallord William) Turner, b London, 1775. d London, 1851. Snowstorm: Steamboat off a Harbour's Mouth. 1842. Oil on canvas. h91 x wl22 cm. h36 x w48 in. Tate, London
Tuymans Luc Lumumba

Patrice Lumumba looks thoughtfully towards us, yet country’s involvement in the overthrow of Lumumba’s the image the artist painted it from memory. By
his focus appears to be elsewhere. An independence government. Considering the contentious nature of creating a subtle distance between his painting and the
leader and the first legally elected prime minister of the its subject, it is difficult to extract any clear meaning or perceived objective accuracy of photographs, the artist
former Belgian Congo (now the Democratic Republic comment from the work - perhaps itself a reflection questions the role of images in shaping histories and
of the Congo), Lumumba was assassinated following on the hidden events of the country’s colonial past. our formation of memories.
a coup in 1961. Belgium-born Tuymans was inspired to Like many of Tuymans’ works, Lumumba is based on
paint the portrait following investigations into his own a photograph, yet rather than working directly from ► Close, Dumas, Katz, Neel, Richter

535

Luc Tuymans. b Mortsel, 1958. Lumumba. 2000. Oil on canvas. h62.2 * w45.7 cm. h24'/2 * wl 8 in. Museum of Modern Art, New York, NY
Twombly cy Bolsena

Random scrawls and scribbles animate the surface to represent something unintelligible or inexplicable. showed some affinity with Jackson Pollock, although
of this painting, recalling the freedom of expression Twombly was totally unhindered by traditional his works are more disjointed and deliberately prov¬
of a child’s drawing. The loose, unordered style formulae and ideas of composition. Like the Abstract ocative and lack Pollock’s innate lyricism and harmony.
allows forms and images to emerge and melt in the Expressionists, he favoured a formless, prosaic
imagination. The system of lines has its own meaning, response to the creative impulse. Lines, scribbles and
although to the observer this meaning may be un¬ lettering form the substance of his pictures, usually
clear. The artist’s paintings are deliberately meant on a white or partially white background. Twombly ► Basquiat, Dubuffet, De Kooning, Pollock, Schwitters

Cy Twombly. b Lexington, VA, 1928 d Rome, 2011. Bolsena. 1969. Oil, coloured chalk and pencil on canvas. h200 * w240 cm. h7834 * w94’/2 in. Private collection
Uccello Paolo The Battle of San Romano

This is one of three panels illustrating the Florentine depict space and became absorbed in the art of forms and in the marvellously fanciful background.
victory over the Sienese at the Battle of San Romano perspective and foreshortening. This is particularly A painter, mosaicist, decorator and master of
in 1432 which was commissioned by the wealthy evident in the corpse dressed in battle armour and marquetry, Uccello was one of the most skilled
banker Leonardo Bartolini Salimbeni in Florence. the broken lances which lie on the ground as if they and conscientious craftsmen of his time.
This image shows the leader of the Florentine troops, have fallen on the receding lines of the picture’s
Niccolo da Tolentino, mounted on a white horse perspective. Uccello’s genius, however, expresses itself
during battle. Uccello was fascinated with how to here above all in the profusion of detail and curious ► Castagno, Gozzoli, Masaccio, Piero della Francesca

Paolo Uccello, b Florence, 1397. d Florence, 1475. The Battle of San Romano. cl438-40. Tempera on panel, hi 82 x w320 cm. h71’/2 x w126 in. National Gallery, London
 Utamaro Kitagawa Lovers (from The Poem of the Pillow)

Two lovers, their faces almost hidden, embrace in print, Utamaro was the first Japanese artist to become the world. This print comes from The Poem of the Pillow,
a room that opens out onto a garden terrace. Their well known in the West. In contrast to the Western probably the finest of Utamaro’s erotic albums.
naked bodies can be glimpsed through the delicate tradition, he was not concerned with creating natural Sumptuously produced with an astonishing collection
swathes of the patterned silk kimonos. The print poses and depth but flat shapes and patterns. His of colour prints these books also depicted amusing
is composed of flowing lyrical lines which gracefully approach gready influenced artists such as Edgar scenes from Japanese legends.
delineate the forms and there is no shading or Degas in the nineteenth century, who were seeking
suggestion of depth. A master of the woodblock a new mode of expression and a fresh way of viewing ► Cellini, Degas, Gauguin, Hokusai, Rodin, Whistler

Kitagawa Utamaro b Tokyo, 1753. d Tokyo, 1806. Lovers (from The Poem of the Pillow). 1788. Woodblock print on paper. h24.8 x w37.4 cm. h9% x wl4% in. Victoria and Albert Museum, London
Utrillo Maurice Flag Over the Town Hall

An air of tranquillity dominates this simple view Degas and Henri de Toulouse-Lautrec. She persuaded mostly townscapes, including many street scenes
of a small town where a group of people are gathered her son to start painting in 1902, following one of of the area around Montmartre. These became so
outside the white wall of a garden. Only the French the many bouts of alcoholism and drug abuse which popular that they have spawned countless imitations
flag flying above the town hall is painted in bright afflicted him throughout his life, and he revealed a and forgeries.
colours, punctuating the otherwise earthy tones of remarkable talent. An intense feeling of atmosphere
the canvas. Utrillo was the illegitimate son of Suzanne dominates many of Utrillo’s paintings, enhanced by
Valadon, an artist and model of Auguste Renoir, Edgar his unerring use of colour and tone. Utrillo produced ► Degas, Dufy, Foujita, Laurencin, Renoir

Maurice Utrillo, b Paris, 1883. d Dax, 1955. Flag Over the Town Hall. 1924. Oil on canvas. h98 * w!30cm. h38'/2 * w51'/s in. Museede I’Orangerie, Paris
Vallotton Faiix Landscape with Trees

The sinuous curves of the trunks and the clumped and Maurice Denis, who were deeply influenced by realistic style through which his landscapes often
masses of leaves are the focal point of this study. Paul Gauguin’s use of Symbolism and flat, pure colour. achieve great depth of feeling. After visiting an
The trees have been reduced to their simplest shapes Like the Impressionists, Vallotton was interested in exhibition of Japanese prints in 1890, Vallotton
and the pattern created by the trunks is silhouetted painting nature from life. He did not share their wish became a prolific wood-engraver.
against the evening sky. Vallotton was a member of to capture the fleeting moment, however, preferring
the Nabis, a group of late nineteenth-century French to focus on the tangible shapes and colours before
painters, including Pierre Bonnard, Edouard Vuillard him. The result is a meticulous and sometimes cruelly ► Bonnard, Denis, Gauguin, Hiroshige, Pissarro, Vuillard

Felix Vallotton b Lausanne, 1865. d Paris, 1925 Landscape with Trees. 1911. Oil on canvas, hi 00 * w73 cm. h39’/3 * w283A in. Musee des Beaux-Arts, Quimper
Vasarely Victor Pal-Ket

Purple, blue and green geometric shapes, arranged the pioneers of Optical art, known by the nickname using exact geometric principles. Hungarian by birth,
in a chessboard pattern, appear to float on and distort Op Art, which developed alongside Pop art in the Vasarely moved to Paris in 1930. His work in painting,
the canvas. Through using opposing systems of 1960s. Op Art is based on the idea that the artist, sculpture, prints and drawings is always abstract
perspective and violendy contrasting colours, Vasarely whether painter or sculptor, can persuade the spectator in nature and relies on the manipulation of visual
deliberately created an optical illusion, giving an to see visual illusions by creating optical effects. sensations for its effect.
impression of movement to the painting. The shapes Vasarely was fascinated with the concept of perception
appear to shift under the eye. Vasarely was one of and how real or ambiguous images can be created by ► Albers, Flavin, Hayter, Riley, Vieira da Silva

Victor Vasarely, b Pecs, 1906. d Paris, 1997. Pal-Ket. 1973-4. Acrylic on canvas. H151.2 * w!50.8cm. h59'/s * w59%in. Museo de Bellas Arles, Bilbao
Velazquez Diego de Silva y Las Meninas

The five-year-old daughter of King Philip IV of Spain, greatest portraitists of all time and this work is Velazquez to visit Italy. Velazquez had a deeply
the Infanta Margareta-Teresa, stands in the centre considered the masterpiece of his final years. He was sensitive appreciation of character. His painting
of the canvas surrounded by her retinue of maids and little influenced by other artists although in 1623 he is characterized by freely painted harmonies of
dwarfs. Velazquez has depicted himself on the left of was appointed Court Painter in Madrid and became colour and tone and a unique blend of realism
the canvas, painting a huge portrait of the King and aware of Titian’s work in the Spanish Royal Collection. with atmosphere.
Queen who can be seen reflected in the mirror directly He also met Peter Paul Rubens, who shared his studio
behind the Infanta’s head. Velazquez is one of the for a short while and is believed to have inspired ► Goya, El Greco, Kirchner, Rubens, Titian, Zurbaran

Diego de Silva y Velazquez b Seville, 1599. d Madrid, 1660. Las Meninas. 1656. Oil on canvas. h318 * w276 cm. h 127 * w!08'/2 in. Museo del Prado, Madrid
Vermeer Jan Woman in Blue Reading a Letter

A solitary young woman stands in her blue morning and emotional depth. The wall-map acts as foil to the bar and ball holding the map, and even into
jacket, reading a letter - surely a love letter. The quiet the severity of the composition, its swirling patterns the blue-grey walls. Vermeer was influenced by the
intensity of the scene is emphasized by her tight, suggesting the turmoil of the reader’s thoughts. domestic genre scenes of his contemporary Pieter
drawn-in pose, and subliminally by the high-backed This work is one of the most spartan of all Vermeer’s de Hooch, but Vermeer’s paintings, such as this one,
chairs that seem to stand as protective barricades. paintings, but it is also one of his most sumptuous, suggest a deeper self-reflection and atmospheric mood.
The negative space of the pale walls is carefully for the expensive ultramarine pigment used for the
designed to embrace the figure, creating both physical figure’s jacket was also incorporated into the chairs, ► Dou, Van Eyck, Hammershoi, De Hooch, Metsu

543

Jan Vermeer, b Delft, 1632. d Delft, 1675. Woman in Blue Reading a Letter. 1662-5. Oil on canvas. h46.5 * w39cm. hi 8'/4 x wl5'/2in. Riiksmuseum, Amsterdam
 Veronese The Finding of Moses

The silk brocade of the dress worn by the principal painting, a late work, his finesse with loose brushwork his name implies, Veronese originally came from
figure is so crisp and delicately portrayed it is tempting can also be admired. Veronese specialized in vast Verona, but he settled in Venice where he was
to touch its luxurious folds. Venetian artists are often narrative paintings of biblical, allegorical or historical particularly influenced by the work of Titian.
said to have been great colourists, but Veronese was subjects in which he included crowds of elegantly
arguably the greatest of them all. The deep blues, dressed figures, accompanied by courtiers, musicians,
ochres and transparent greys of the dresses display soldiers, horses, dogs or monkeys, set within monu¬
his fondness for rich hues and bright tones. In this mental architecture or against verdant landscapes. As ► Giorgione, Tiepolo, Tintoretto, Titian

544

Veronese (Paolo Caliari) b Verona, 1528 d Venice, 1588. The Finding of Moses. cl580. Oil on canvas. h57 x w43 cm. h22V2 * wl7 in. Museo del Prado, Madrid
Verrocchio Andrea del Bust of a Woman Holding a Nosegay

The crisply carved folds of this woman’s dress was exceptional. Trained as a goldsmith, he was also da Vinci. Leonardo’s famous drawings and paintings
have been created by the hand of a master sculptor. a painter, a sculptor and one of the most accomplished are founded on his master’s style and his hand can
The head looks out and slighdy upwards and the draughtsmen of the Renaissance. He led an extremely be recognized in some of Verrocchio’s own paintings
hands, which were the first to be shown in a portrait active workshop in Florence which trained a number and sculpture.
bust, are placed irregularly on the breast. Although of artists to be goldsmiths, sculptors and painters.
Florentine artists of the Renaissance were proficient These included Perugino among others, but the most
in most media and techniques, Verrocchio’s versatility famous product of Verrocchio’s tutelage was Leonardo ► Algardi, Donatello, Ghirlandaio, Leonardo, Perugino

545

Andrea del Verrocchio, b Florence, 1435. d Venice, 1488. Bust of a Woman Holding a Nosegay. cl480. Marble. h60cm. h23% in. Museo Nazionale del Bargello, Florence
 Vieira da Silva Maria Elena Checkmate

Juxtaposed squares, rectangles and lozenges in soft the use of gende light and soft colours creates a and produced a multitude of works which are charac¬
muted colours and random diagonal formations have peaceful and mysterious atmosphere. Vieira da Silva terized by a use of muted colour contrasts, often
been woven together to form a net-like pattern. A was a French painter of Portuguese origin. She initially dominated by tones of greys and whites, and of linear
system of perspective has been employed so that worked as a sculptor with Emile Bourdelle and then structures placed against amorphous grounds.
the central chessboard pattern slowly recedes into the after moving to Paris studied painting under Fernand
distance. The surface of the canvas appears to twist Leger and engraving with Stanley William Hayter.
and turn but the painting is not disturbing. Instead, During the 1930s she developed into an abstract painter ► Bourdelle, Hayter, Leger, Poliakoff, Riopelle, Vasarely

546

Maria Elena Vieira da Silva b Lisbon, 1908. d Paris, 1992. Checkmate. 1949-50. Oil on canvas. h89 * wl 16 cm. h35 * w455/s in. Private collection
Vigee-Lebrun Marie-Louise-Elisabeth Self-portrait

The artist sits holding a handful of paintbrushes and a and beauty and a sense of her charming personality is portraits of women and children; her reputation as
palette, her right hand at work on one of the portraits evoked by her peaceful gaze and engaging smile. Al¬ an artist was confirmed when she executed a portrait
which made her famous. Painted on a neutral ground, though she was aged thirty-five at the time of this of Queen Marie-Antoinette who she is said to have
this self-portrait is brought to life by the artist’s radiant painting, she has painted a somewhat idealized image painted twenty-five times.
features and the rich, triumphant red of the material of herself in the fall bloom of innocent youth. This
around her waist, which is repeated on the tip of one soft, flattering style of portraiture made Vigee-Lebrun
of the brushes. Vigee-Lebrun was noted for her wit highly sought-after throughout Europe. She excelled in ► Anguissola, Greuze, Mengs, Ramsay, Sherman

547

Marie-Louise-Elisabeth Vigee-Lebrun. b Paris, 1755. d Paris, 1842. Self-portrait. 1790. Oil on canvas. hlOO * W81 cm. h39'/2 * w32 in. Galleria degli Uffizi, Florence
 Viola BNi To Pray Without Ceasing

The cycle of life - from the birth to the death of man, Whitman’s poem Song of Myself. The images are video, audio and information technology into visionary
from the explosion of the universe to total darkness — strongest at night but washed out by daylight when realms, drawing on sources ranging from ancient
is condensed into the space of a day in this video only the voice can be discerned. Projecting itself mystic teachings to the LA riots of 1992 in an explor¬
installation. A sequence of images flows across a TV like a glowing icon, the work’s title further suggests ation of the unconscious mind.
screen in twelve-hour cycles, computer programmed to that this is a devotional object: it is almost a con¬
repeat twice a day, seven days a week. A disembodied temporary Book of Hours, as each image relates
voice can also be heard reciting excerpts from Walt to a specific time of day. Viola takes state-of-the-art ► Beauneveu, Flavin, Limbourg, Marclay, Merz, Nauman, Rist

548

Bill Viola b New York, NY, 1951. To Pray Without Ceasing. 1992. Video/sound installation. Colour video image rear-projected on translucent s , projected in two 12-hour cycles, 24 hours a day. Private collection
 mincK Maurice de The Circus

Sweeping brushstrokes of blues, oranges and pinks he became a member of the Fauve movement, a Fauve period. Initially influenced by the expressive
have reduced the circus tent and the surrounding group of artists including Derain, Henri Matisse and quality of Vincent van Gogh, from 1907 Vlaminck
houses to their most basic shapes. The perspective Georges Rouault who exhibited together at the became interested in the work of Paul Cezanne and he
has been distorted to create a highly expressive and Paris Salon. With its distorted forms and flat patterns rejected bright colours in favour of sombre tones and
turbulent scene. Largely self-taught, Vlaminck was a painted in violent colours, their work created such more traditional subjects.
professional racing cyclist until he met the artist Andre a furore that a critic dubbed them lesfauves (‘the wild
Derain in 1900 and began to paint seriously. In 1905 beasts’). Some of Vlaminck’s best work dates from the ► Derain, Van Gogh, Heckel, Kirchner, Pechstein

Maurice de Vlaminck, b Paris, 1876. d Rueil-la-Gadeliere, 1958. The Circus. 1906. Oil on canvas. h60 * w73 cm. h23% » w28% in. Private collection
Vouet Simon Time Overcome by Hope, Love and Beauty

Two young women with deadly looking weapons Old Man Time, suggesting that Youth, Beauty and of religious and allegorical works, set the artistic
threaten an old man who desperately tries to protect Love are eternal and immutable values. The extrav¬ fashion in seventeenth-century Paris. He painted
himself. The scythe that lies beneath him and the agant gestures of all three figures, and the billowing many large decorative paintings, most of which have
hourglass that he holds in his left hand tell us that he movement of the draperies as the figures push and unfortunately been destroyed.
is Time. The two women are personifications of Hope pull against each other, are hallmarks of Vouet’s
(on the left) and Beauty (on the right); together with classicized Baroque style of painting. His richly
Love (the cherub Cupid) they are seen triumphing over coloured and highly dramatic compositions, mosdy ► Bronzino, Caravaggio, Carracci, Domenichino, Poussin

Simon Vouet. b Paris, 1590. d Paris, 1649. Time Overcome by Hope, Love and Beauty. 1627. Oil on canvas, h 107 * wl42 cm. h42’/6 x w55% in. Museo del Prado, Madrid
Vuillard Edouard Two Schoolboys

Two young boys play in a public garden which Vuillard amalgam of his impressions of the parks of Paris, colour harmonies, a feeling for textures and patterned
has turned into a magical dream world. The mottled where he sketched children playing and recorded the shapes, and for having the rare ability to evoke
bands of chalky browns and greens create speckled patterns of shadow and light. Vuillard was inspired by atmosphere and reveal the mysterious charm of
harmonies of colour, giving a delicately vibrant effect the shimmering techniques of Georges Seurat and everyday life.
to the surface. Vuillard was commissioned to paint a Claude Monet and these panels in particular recall the
series of nine large panels for the dining-room of a paintings Monet executed of his garden at Giverny.
smart Parisian town house. The panels were an Vuillard is renowned for his use of bold but sensual ► Bonnard, Denis, Homer, Monet, Seurat, Vallotton

Edouard Vuillard, b Cuiseaux, 1868. d La Baule, 1940. Two Schoolboys. 1894. Distemper on canvas.;. h212 x w96 cm. h83V2 * w373/4 in. Musees Royaux des Beaux-Arts de Belgique, Brussels
 Edward The Beached Margin

Nautical objects are assembled in bold relief against creations gives an intellectual pleasure much greater recurrent subjects in his work. As well as his paintings
a marine background of sea and sand. The painting than is offered by the usual still life. The painting and engravings, Wadsworth also executed a number
displays Wadsworth’s technical ability and meticulous comes close to Surrealism in its use of unexpected of mural decorations, notably for the liner Queen Mary.
draughtsmanship: the minutest details are depicted juxtapositions and in its hyper-real clarity. During the
with startling detail and the difficult medium of egg First World War, Wadsworth joined the Royal Navy
tempera (which he mixed himself) is handled skilfully. and designed and painted camouflage for ships. This
The imaginative quality of these fantastic geometric led to an overriding passion for the sea and ships, ► Carra, De Chirico, Dali, Lewis, Nash

Edward Wadsworth b Cleckheaton, 1889. d London, 1949. The Beached Margin. 1937. Tempera on linen. h71.1 * wl01.6 cm. h28 * w40 in. Tate, London
Walker Kara Slavery! Slavery! ...

The complete title of this work is Slavery! Slavery! a cartoon-like prettiness at first glance, until a closer whether in cut-out silhouettes, drawings or film, is a
Presenting a GRAND and EIFEEIKE Panoramic journey look reveals a hellish world of sex, slavery and but the standard dualities - victim and predator, strong
into the Picturesque South. Slavery of ‘Ufe at "01” Virginny’s sadism under a crescent moon and dripping Spanish and weak, black and white — are unreliable and shifting,
Hole” (sketchesfrom Plantation Ufe)’. See the Peculiar moss. Racism dominates Walker’s work, and she forcing the viewer to reconsider their own response.
Institution as Never Before! All Cut from Black Paper by the draws inspiration from historical fiction, actual slave
Able Hand of Kara Elizabeth Walker, an Emancipated narratives, minstrel shows and other artists, such
Negress and Deader of her Cause. The paper cut-outs have as Adrian Piper. Yet within the story that she tells, ► Frank, Perry, A Piper, Watteau

Kara Walker, b Stockton, CA, 1969. Slavery! Slavery! ... 1997. Paper cut-outs on wall. h3.7 * W25.9 m. hl2 * w85 ft. As installed at the Hammer Museum, Los Angeles, CA
Wall After 'Invisible Man' by Ralph Ellison, the Prologue

In a room sits a man. Above him, hanging from the retreats. Whilst this work is inspired by a fictional experience of the original event. Before constructing
ceiling, are hundreds of light bulbs (1,369 to be story, many of Wall’s large-scale photographic tableaux the set for the current image in his Vancouver studio,
precise). Based on a close reading of the Prologue are based on everyday events witnessed by the artist. Wall visited numerous basements in Harlem to ensure
of Ralph Ellison’s 1952 novel Invisible Man, Wall’s The antithesis of the candid snapshot. Wall creates historical accuracy.
photograph depicts the basement in Harlem to which meticulously staged reconstructions, spending many
the book’s central character, overwhelmed by feelings months working with a cast of actors and assistants
of invisibility due to his race and social standing, until he feels he has been able to capture accurately his ► Becher, Gursky, Richter, Wall

Jeff Wall, b Vancouver, BC, 1946. After 'Invisible Man' by Ralph Ellison, the Prologue. 1999-2000. Transparency in lightbox. hl74 x w250.5 cm. h68V4 x w98'/2 in. Offentliche Kunstsammlung, Basel
Wall is Alfred St Ives with Godrevy Lighthouse

A town with its harbour and lighthouse is depicted and black have been added. Wallis worked as a remembered or imagined experiences. Wallis often
from a high vantage point. The work has a flat, naive fisherman and only started to paint in his sixties. worked on pieces of cardboard cut into irregular
quality, recalling images created by children; it is Discovered by Ben Nicholson, he became the most shapes, a technique that was later emulated by the
completely free from optical mannerisms such as influential British ‘ptimitive’ artist through his effect more sophisticated St Ives painters.
perspective or a vanishing point. Much of the brown on the St Ives painters in Cornwall. His paintings,
card has been left visible, forming the colour-base mainly of ships, coasts and harbours, were not drawn
of the painting to which only pale blue, green, white from life but were spontaneous responses to ► Gontcharova, Lowry, B Nicholson, H Rousseau, Wadsworth

Alfred Wallis, b Devonport, 1855. d Madron, 1942. St Ives with Godrevy Lighthouse. c!935. Oil and pencil on card. hl7 * w95 cm. h6% * w37'/s in. Private collection
 Warhol Andy Marilyn

Marilyn Monroe’s face is presented as an impenetrable pictures of her, presenting us with a frozen image the 1960s. He remained, however, an intensely private
mask in bright luminous colours. Published in ten that reinforces the universal power of the most tragic man, saying: ‘If you want to know everything about
different colour combinations, using the impersonal of all Hollywood’s personae. The portrayal of Monroe me, just look at the surface of my paintings, it’s all
screenprinting process, the multi-coloured surface as a product of mass culture, packaged for the public there, there’s nothing more.’
portrays her image in a startlingly lurid manner. as if a consumer item, connects this work to the
Monroe is probably Warhol’s most famous subject. American Pop art movement. Warhol, a painter,
He used a publicity still as the basis for this and other graphic artist and film-maker, was a cult figure during ► De Kooning, Lichtenstein, Neel, Oldenburg, Rosenquist

556

Andy Warhol, b Pittsburgh, PA, 1928. d New York, NY, 1987. Marilyn. 1967. Screenprint on paper. h91.5 x w91.5 cm. h36 x w36 in. M useum of Modern Art, New York, NY
Waterhouse John William The Lady of Shalott

The luminosity of this painting and its careful atten¬ been painstakingly depicted and the same attention Above all, though, it is the beauty of his wistful female
tion to detail heighten the emotion in this episode has been paid to rendering the reflections on the water. models (in this instance believed to be the artist’s wife)
from Tennyson’s poem. One can almost feel the cool Waterhouse was a follower of the Pre-Raphaelite that has ensured the artist’s lasting popularity.
of the day as the doomed girl begins her final journey, artists and continued their interest in depicting scenes
her haunting beauty dominating the scene. Apart from from poetry and mythology. He displayed an unerring
telling a tragic story, this work is an exercise in closely feel for the dramatic moment, combined with a fine
observed landscape painting — each rush and reed has sense of composition and superb painting technique. ► Alma-Tadema, Burne-Jones, Leighton, Martini, Millais

557

John William Waterhouse b Rome, 1849. d London, 1917. The Lady of Shalott. 1888. Oil on canvas. hl53 x w200 cm. hdO'/s * w/8% in. Tate, London
Watteau Antoine The Embarkation for Cythera

Verdant trees, plump cherubs, amorous couples and undercurrent of melancholy — the wistful backward main influence on his work. Watteau’s sophistication
sumptuous silks grace this vision of graceful gallantry. glance of the central figure seems to hint at the and elegance are inherently French and reflect the
The festooned statue of Venus and Cupid emphasizes transitoriness of pleasure. Watteau championed this pomp and extravagance of the Court of Louis XIV
that this Arcadia is devoted to the pursuit of love. type of idyllic, festive landscape and brought the at Versailles.
There is nothing overdy erotic about the painting, genre, which is typical of the Rococo style, to a height
but it has an undeniable sensuousness. Like many of never reached before. He held a great admiration
Watteau’s paintings, its magical frivolity contains an for the work of Peter Paul Rubens, who was the ► Boucher, Fragonard, Giorgione, Lancret, Rubens

Antoine Watteau, b Valenciennes, 1684 d Nogent-sur-Marne, 1721. The Embarkation for Cythera. 1718. Oil on canvas, h 130 * wl92 cm. h51’A * w75'/2 in. Schloss Charloftenburg, Berlii
Weight card Daisy in the Garden

The mundane and depressing atmosphere of a walks through the garden towards us. The originality towards the edge of the painting, as if escaping.
typical urban back garden in south-west London on of the painting is demonstrated by Weight’s instinctive His compositions sometimes include spirits, ghosts
an overcast day has been effectively captured in this feeling for the subject. An individualist who avoided and witches. Most of his scenes are set in south
precisely painted work. Weight’s open brushwork the commercial art world, Weight painted personal London where he lived and worked.
heightens the intensity of the scene; in a mysterious visions of everyday life imbued with an uneasy feeling.
way the bleak and dingy surroundings appear to His figures are painted in urban and rural envir¬
amplify the loneliness of the human figure as she onments and are often running or walking briskly ► Freud, Rego, Sickert, Spencer

Corel Weight, b London, 1908. d London, 1997. Daisy in the Garden, cl962. Oil on canvas. h76.2 * wl01.6cm. h30 x w40 in. Private collection
 mann Tom Great American Nude No. 27

The erotic image of the spread-legged nude, her or posters. The painting’s importance lies in its ment. From 1983 Wesselmann abandoned painting on
features left blank to avoid any suggestion of a conspicuous demonstration of sexual freedom, canvas and turned to the construction of cut-out metal
portrait, is juxtaposed with cut-out images of milk¬ painted at a time when nudity in the American media wall-pieces derived from felt-tip or ink drawings.
shakes and ice-creams. This was one of a series was still rare, and its inclusion of the direct imagery
of works created by Wesselmann in the early 1960s of the new consumer age. This manipulation of erotic
in which he combined nudes depicted in flat, clear symbols and the popular culture of a consumer society
colours with collage elements taken from brochures connects the painting to the American Pop art move¬ ► Boucher, Hamilton, Jones, Polke, Rosenquist, Warhol

560

Tom Wesselmann b Cincinnati, OH, 1931. d New York, NY, 2004. Great American Nude No. 27. 1962. Enamel paint and collage on panel, hi 22 x w91.4 cm. h48 * w36 in. Mayor Gallery, London
 Benjamin William Penn's Treaty with the Indians

William Penn is depicted making peace with the reputation. West was born in North America and in the development of American art. His studio in
Lenape Indians, a landmark in the creation of the studied in Italy before setting up as a portraitist in London was the training ground for some of the most
Pennsylvania colony. This somewhat romanticized London in 1763. He had enormous flair and versatility important American artists of the period, including
and inaccurate representation of a documented event, and achieved great popularity. He was appointed Gilbert Stuart.
in which West has imposed a Classical composition Historical Painter to George III and later replaced
on figures in contemporary dress, is typical of the Sir Joshua Reynolds as President of the Royal
historical paintings which earned West his international Academy. West was an extremely influential figure ► Cole, Hicks, Reynolds, Stuart

Benjamin West b Swarthmore, PA, 1738. d London, 1820. William Penn's Treaty with the Indians. 1771/2. Oil on canvas. hl92 x w273 cm. h75’/s * wl07%in. Pennsylvania Academy of the Fine Arts, Philadelphia, PA
 Weston Edward Shells

Two shells have been arranged to create a sensuous body, their biomorphic forms taking on a barely photographs of the landscape and fauna of the region

sculptural form. The intensely lit photograph marries veiled eroticism. In turn, the contorted and truncated were recognized as epitomizing a modern, specifically

an almost scientific scrutinizing of the shells with positioning of the model in some of his nude studies West Coast, aesthetic. In the current work there are

a suggestive, poetic play on the sinuous lines and the appears to be based on the natural forms captured obvious formal similarities with the abstract sculptures

subdy contrasting textures. Famed for his images in his still lifes. Weston claimed that subject matter was of Constantin Brancusi and Jean Arp.

of the female nude, Weston’s still lifes of shells and immaterial. Born in Chicago, at the age of twenty-one
vegetables are often suggestive of parts of the naked Weston moved to California. His cool, clean-edged ► Arp, Celmins, Kertesz, Hepworth

562

Edward Weston, b Highland Park, IL, 1886. d Carmel, CA, 1958. Shells. 1927. Gelatin silver print. h25.4 * w20.3 cm. hi 0 x w8 in. Center for Creative Photography, University of Arizona
Van der Weyden Rogier The Descent from the Cross

The sorrowful demeanour of these figures makes this Yet the overall composition, with the figures and his influence was extremely profound for a long
one of the most moving paintings in the history of crowded into the front of the picture frame as if time after his death, not only on painting in northern
art and one of the masterpieces of fifteenth-century they were standing in a shallow box, looks more like Europe but throughout the Continent.
painting. Details such as the tears failing from Mary a tableau in a Christmas pageant than an accurate
Magdalene’s nose and the way the fabric of her dress description of a real event. Van der Weyden’s early
pulls across her back as she clasps her hands in sorrow work shows the influence of Jan van Eyck and Robert
show that Van der Weyden was a keen observer of life. Campin. He achieved great success during his lifetime ► Bouts, Campin, Van Eyck, Grunewald, Memling

Rogier van der Weyden, b Tournai, c!399. d Brussels, 1464. The Descent from the Cross. cl435/8. Oil on panel. h220 * w262 cm. h86% * W103V4 in. Museo del Prado, Madrid
 er James Abbott McNeill Symphony in White No. 2: Little White Girl

This beautiful, sultry portrait of Whistler’s mistress in the 186os when Japanese art was finding its way emphasized the aesthetic nature of his work by calling

Joanna Hiffernan is a study in the arrangement of into Europe, is also alluded to in the depiction of his paintings ‘nocturnes’ and ‘symphonies’. Whisder’s

closely related shades of white. The asymmetrical the fan, the porcelain jar on the mantelpiece and the growing fame as a wit and eccentric coincided with his

composition with its off-centre, cropped figure, and cherry blossom. The technique of silhouetting a figure decline as a painter.
the direct lighting which reduces the painting to a against an almost blank ground remained Whistler’s
coloured pattern, clearly shows Whistler’s interest in standard practice. In a reaction against the domination
Japanese art. This influence, which was most marked of subject matter in Victorian painting, Whistler ► Chase, Degas, Goya, Hiroshige, Hokusai, Manet

564

James Abbott McNeill Whistler b Lowell, MA, 1834 d London, 1903. Symphony in White No. 2: Little White Girl. 1864. Oil on canvas. h76 x w51 cm. h30 x w20 in. Tate, London
Whiteread Rachel Ghost

This is a plaster-cast of a room from a Victorian assembling them on a steel frame, Whiteread has of Ghost further, producing a concrete cast of the
London town house. The negative space of the created a striking memorial to a once-inhabited space. interior of a complete house in East London. A public
interior has taken on a solid form as everything has Evocative of the paired-down forms of Minimalism, debate ensued when local authorities demolished the
been inverted - the soot-stained cavity of the fireplace as well as the monumental presence of a nineteenth- work in the following year.
has become a protrusion; light-switch and door-handle century mausoleum, Ghost transforms the specific and
sink into the dusty surface. Created by taking a series recognizable features of a domestic room into a poetic
of moulds from sections of the room’s walls and then monolith. In 1993 Whiteread developed the theme ► Becher, Christo, LeWitt, Matta-Clark, Segal

Rachel Whiteread b London, 1963. Ghost. 1990. Plaster on steel frame. h269 * W355.5 * d317.5 cm. hi 05% » wl 39% * dl 25 in. National Gallery of Art, Washington, DC
 Wilkie Sir David The Letter of Introduction

A young man presents a letter of introduction to in painting moralizing domestic scenes in the manner Perhaps the greatest eulogy given to him was when
an elderly gentleman who regards him with suspicion, of seventeenth-century Dutch genre painters such J M W Turner painted burial at Sea to express his grief
an attitude reflected also by his dog. This subde as Adriaen van Ostade and Gerard ter Borch. Much at learning about Wilkie’s death while coming home
painting appeals to our emotions by juxtaposing the of Wilkie’s art found its parallel in the poetry of from a trip to the Middle East
lad’s ruddy, innocent country candour with the old Robert Burns and Sir Walter Scott. The son of a
man’s sidelong glance of sceptical distrust, redolent minister in Fife, Wilkie forms with Henry Raeburn
of a life spent in the corrupt city. Wilkie specialized and Allan Ramsay the great triumvirate of Scottish art. ► Ter Borch, Lely, Van Ostade, Raeburn, Ramsay, Turner

566

Sir David Wilkie b Cults, Fife, 1785. d At sea (off Malta), 1841. The Letter of Introduction. 1813. Oil on panel. h61 x w50 cm. h24 x w!93A in. National Gallery of Scotland, Edinburgh
Wilson Richard View in Windsor Great Park

Bucolic hills inhabited by catde and deer contribute imaginary Classical ruins and was greatly inspired by designer Capability Brown. Wilson was one of the
to this pastoral scene. The horizon is so low the the Italian paintings of Claude Lorrain and Nicolas Founder-Members of the Royal Academy in London,
clouded sky has become as important to the picture Poussin. Upon returning home, he continued to paint but he never achieved commercial success in England
as the land below. The rustic peasants are not here Italianate landscapes but used the scenery of England and died in obscurity.
to tell a story but, like the livestock, are an integral part and Wales and views of country houses (he received
of the landscape. Wilson worked in London before many commissions) as the subjects of his paintings.
travelling to Italy where he studied landscapes with These paralleled the grand schemes of the landscape ► Agasse, Claude, Pannini, Poussin, Zuccarelli

Richard Wilson, b Penegoes, 1713. d Mold, 1782. View in Windsor Great Park. cl765. Oil on canvas. hl04 * wl37cm. h41 » w54 in. National Museum otWales, Cardiff
WitZ Konrad The Miraculous Draught of Fishes

The rather ungainly but solid and meticulously the history of art for containing one of the first inous spaciousness of the hills which recede into
depicted figures animate the sun-lit landscape of the attempts by a painter to record faithfully the landscape the distance show that Witz was capable of rendering
shores around Lake Geneva. Close attention has been before him. Witz is considered to be one of the great¬ perspective, although this was not achieved by math¬
paid to the naturalistic detailing of the rocks and plants est of the pre-Renaissance German artists. Litde is ematical calculation.
in the shallows (visible through the water) and the known of his life although his strongly realistic style
trees and houses in the background. The scene is suggests that he must have been familiar with the
striking for its clarity and is especially important in work of the Flemish painter Jan van Eyck. The lum¬ ► Van Eyck, Master of Moulins, Patinir, Schongauer

Konrad Witz, b Rottweil, cl410. d Basel, cl446.The Miraculous Draught of Fishes. 1444. Oil on panel, hi32.1 * wl53.7cm. h52 x w60'/2 in. Museed'Artetd'Histoire, Geneva
Wood Grant American Gothic

Wood was captivated by a simple Gothic-style cottage the down-to-earth, Puritan dignity found in small¬ His crisp, firmly delineated and precisely modelled
he saw in a small town in southern Iowa and created town America. A lifelong resident of Iowa, Wood was style was derived from the Gothic and early
this picture around the image which it evoked in his one of the exponents of Regionalism, a form of Renaissance masters Wood had studied in Europe
mind. He used his sister and his dentist as models for realism common in North America during the 1930s in the 1920s.
the couple standing in front of the plain white house. and based on the desire that American artists should
Wood was accused of satirizing Midwestern values, end their cultural dependence on Europe by finding
but he insisted that he made the work as a homage to inspiration for their art in their local surroundings. ► Van Eyck, Hopper, Martini, Wyeth

569

Grant Wood, b Anamosa, IA, 1892. d Anamosa, I A, 1942. American Gothic. 1930. Oil on board. h74.3 » w62.4cm. h29'/s * w24'/2 in. Art Institute of Chicago, Chicago, IL
Wool Christopher Apocalypse Now

‘Sell the house. Sell the car. Sell the kids. Find someone America), a simple, reductive hymn to moving on, left by painting through stencils, and the patterning
else. Forget it. I’m never coming back. Forget it.’ leaving the past behind. But for Wool, the work was of the letters and spaces. Even the act of reading the
Captain Colby writes this final letter to his wife in the not just a statement, but also a painting. He breaks message is part of the process — a confrontation
Vietnam War film Apocalypse Now. The message evokes up the words so that reading them requires of the grammatical, visual, emotional and imaginary.
a bleak vision — no family, no home, none of the decipherment, like the forms and colours and textures
attachments of normal life. The lines became a mantra of a painting. He deliberately reveals the process
in the late 1980s (a time of recession and decline in of the work’s creation through the drips and splashes ► Holzer, Kruger, Nauman, Warhol

Christopher Wool b Chicago, IL, 1955. Apocalypse Now. 1988. Alkyd and flashe on aluminium and steel. h213.4 * wl82.9 cm. h84 x w72 in.Museum of Modern Art, New York, NY
Wright of Derby Joseph An Experiment on a Bi in the Air Pump

A group gathers to watch an experiment in which of the composition. In contrast, the scientist in the creates a dramatic chiaroscuro effect, more often found
a white cockatoo is slowly starved of oxygen in a centre confronts the viewer, challenging them to watch with religious or historical subject matter. The artist
vacuum pump. The emotions of those present are further. Such demonstrations were fairly common produced numerous paintings depicting the industrial
mixed. Whilst the couple to the left appear indifferent during the late eighteenth century, often touring town and scientific advancements of his day.
to the events unfolding — being more engrossed in halls, or as is perhaps the case with the present
each other - the sight of the bird suffocating is all too painting, taking place in the homes of the inquisitive
distressing for the two young girls towards the right wealthy. By intensely illuminating the scene, Wright ► Brown, Caravaggio, Correggio, Honthorst

Joseph Wright of Derby, b Derby, 1734. d Derby, 1797. An Experiment on a Bird in the Air Pump. 1768. Oil on canvas. hl83 * w244 cm. h72 * W94V4 in. National Gallery, London
Wyeth Andrew Christina's World

A young girl, seen from behind, sits in a field and precise realism, undoubtedly influenced by photo¬ predominantly in the areas around Pennsylvania and
gazes up at a farmhouse on top of the hill. A sense of graphy in its exactness of detail and the use of unusual Maine where he lived for most of his life. His work has
melancholy and desolation is emphasized by the vast viewpoints. His usual subjects are deserted landscapes tremendous popular appeal.
space between the figure and the distant houses. and scenes conveying the conflicts of solitude.but
The finely depicted surface, executed in subdued tones Wyeth adds a disturbing element by depicting such
but with a warm glow of bright sunlight, is typical emotional themes in a highly detailed manner remin¬
of Wyeth’s style which is characterized by a minute, iscent of magazine illustration. Wyeth worked ► Estes, Hopper, Richter, Sheeler, Wood

Andrew Wyeth, b Chadds Ford, PA, 1917. d Chadds Ford, PA, 2009. Christina's World. 1948. Tempera and gesso on panel. h82 * wl21 cm. h32Vi * w473/4 in. Museum of Modern Art, New York, NY
Yeats Jack Butler The Basin in Which Pilate Washed his Hands

Slashing strokes of bright colour have been the poet W B Yeats. He began his career as an his friend Oskar Kokoschka and his Expressionistic
spontaneously applied in a loose, expressionistic illustrator and watercolour artist and did not begin work draws a close parallel with that of the Austrian-
manner. The passionate freedom of the artist’s painting in oils until 1915 at the age of forty-four. born painter. Yeats’s subject matter, however, remains
style and the bold approach to the subject are striking. His style became increasingly free and more violent entirely Irish.
The forms emerge and dissolve simultaneously from in its use of colour. Yeats was gready influenced
the indiscernible mass of the landscape background. by the Irish Troubles which were reflected in the
Yeats was the son of a painter and the brother of subject matter of his later work. He was admired by ► Appel, Gorky, Kokoschka, De Kooning, Kossoff, Pollock

jack Butler Yeats, b London, 1871. d Dublin, 1957. The Basin in Which Pilate Washed his Hands. 1951. Oil on canvas. hl01.6 x w152.4 cm. h40* w60 in. Waddington Galleries Ltd, Londan
Zhang Huan Family Tree

From six separate photographs Zhang Huan stares out to write text on his face. He told them what they pertains to ideas of determination and fate. Based
at the viewer. In each, the artist’s expressionless face should write — mainly extracts from traditional stories in Shanghai and New York, Zhang Huan works across
is adorned with Chinese writing. As we progress — and informed them that they must at all times ‘keep a wide range of media. The materials and symbols
through the images his face becomes covered in more a serious attitude’. The process lasted from morning employed in his art often evoke spiritual and philo¬
and more text, until eventually it is completely black to night, his face slowly following the shift from sophical ideas associated with Buddhism.
with ink, his eyes made more intense in the process. In daylight to darkness. The artist notes that the work,
2000 the Chinese-born artist invited three calligraphers a self-portrait, ‘speaks about a family story’ and ► Abramovic, Beuys, Cahun, Close

Zhang Huan. b Anyang, Henan Province, 1965. Family Tree. 2000. Serial self-portrait performance and calligraphy, New York, NY
Zhang Xiaogang A Big Family

Resembling an old-fashioned studio portrait during China’s Cultural Revolution (1966—76), and on the interaction of collective society, blood family
photograph, Zhang’s painting includes a red-faced his Family paintings are inspired by the studio portraits and the individual. His look-alike figures allude to
figure - an assertion of individuality among family of the time, which were typically laden with ideology the mass-psychology of the Cultural Revolution,
members linked from heart to heart by blood-red (Mao jackets, workmen’s caps). His timeless figures, while the dreamy distortions, inspired by European
drops. A splodge of colour tracks across all three faces with their very subde personal differences, illustrate the Surrealism, impart a disturbing and complex
and brings to mind a birthmark, with its social stigma, hugely important Chinese concept of family - imme¬ emotional dimension to the work.
or the deterioration of aging film. Zhang grew up diate, extended, professional and social — and comment ► Foujita, Katz, Laurencin, Ray

Zhang Xiaogang. b Kunming, Yunan Province, 1958. A Big Family. 1995. Oil on canvas. hl79 * w229 cm. hTOM * w90 in. Saa.chi Gallery, Landan
 Zoffany Johann Charles Towneley's Library in Park Street

Marble athletes, nymphs, gods, goddesses and portrait Clytie on the desk is said to have been such a by the actor David Garrick to paint a number

busts are crammed into the library of this collector. favourite of Towneley’s that he referred to it as his of conversation pieces and attracted the attention of

Towneley, seated in the chair on the right, his faithful wife. German by birth, Zoffany travelled and studied King George III. In 1783 he went to India where he

dog at his feet, is surrounded by fellow antiquaries extensively in Italy. He met Towneley in Florence and made his fortune painting portraits.

and connoisseurs. The elegant library contains all the the two men became close friends. Zoffany arrived in
accoutrements of the cultured eighteenth-century London in 1760 and set up as a painter of portraits,
interiors and theatrical scenes. He was commissioned ► Gainsborough, Hogarth, Kauffmann, Teniers
gendeman with highly refined tastes. The bust of

576

Johann Zoffany, b Frankfurt-am-Main, 1733. d London, 1810. Charles Towneley's Library in Park Street. 1783. Oil on canvas, h 127 * w99 cm. h50 * w39 in. Towneley Hall Art Gallery, Burnley
Zorn Anders Dagmar

Like a nymph watching her reflection in the rippled innocendy sensuous about her pose. Zorn was also his solid forms and the luminosity and natural feeling
surface of a lake, this nude perches at the edge of the interested in printmaking; he made an etching of this that can be seen in this work are characteristic
water absorbed in quiet thought. Her pink skin is composition and created prints of his paintings and of Scandinavian painting at the turn of the century.
echoed by the soft hues of the rocks and the greens of sculpture. One of the most cosmopolitan Swedish
nature beyond. Although there is nothing overtly erotic artists of his time, he travelled extensively in Europe
about the figure, her voluptuous body beckons the and North America. Although his dancing brush and
viewer to look at the painting and there is something moving light and colour ally him to the Impressionists, ► Boucher, Kroyer, Monet, Schiele

577

Anders Zorn, b Moro, 1860. d Mora, 1920. Dagmar. 1911. Oil on canvas. h88 * w63 cm. h34'/z * w24%in. Private collection
Zuccarelli Francesco Landscape with the Rape of Europa

ashore to where Europa is playing. He entices her pleasing style of landscape painting inhabited by joyful
A great softness and delicacy pervade this picturesque
to climb onto his back and carries her away to Crete. peasantry was very popular in England. Zuccarelli was
landscape animated with elegant female figures
This narrative scene has deliberately been relegated one of the Founder-Members of the Royal Academy
and playful putti. Zuccarelli has used the motifs of
a Roman town and the story of the rape of Europa to the background and is almost incidental to . in London.

to evoke an Arcadian, pastoral landscape in the manner the composition. Zuccarelli, a Florentine landscape
of the French landscape painter Claude Lorrain. painter, worked principally in Venice and London
where he stayed for seventeen years. His light and ► Allston, Claude, Piero di Cosimo, Wilson
Zeus, who has disguised himself as a bull, swims

Francesco Zuccarelli. b Pitigliano, 1702. d Florence, 1788. Landscape with the Rape of Europa. c!750. Oil on canvas, h 131 x w!68 cm. h51 V4 x w66 in. Private collection
 Zurbaran Francisco de The Martyrdom of St Serapion

The unconscious body of the thirteenth-century just glimpsed underneath fades into the shadows. both heighten the emotional impact of the image.
British martyr Serapion hangs limply - roped, it seems, The artist’s keen sense of the duality between the This artist’s ascetic religious scenes were much in
to the corners of the picture. He was said to have corporeal world and the realm of the spirit can be seen demand by churches and monasteries, but with the rise
been crucified, dismembered and disembowelled, but also in the fallen head, shadowed in death like his body, in popularity of a softer, sweeter style around mid¬
Zurbaran portrays him without violence. Filling the and yet supported, almost cradled, by the transcendent century, his reputation declined, and he died in poverty.
canvas, his spotless white monk’s habit hangs like a white habit. Zurbaran’s use of a strong chiaroscuro,
sheet, radiating a sublime light, while the human body and the closeness of the figure to the picture plane, ► Caravaggio, Murillo, Velazquez

Francesco de Zurbaran. b Fuente de Cantos, Extremadura, 1598. d Madrid, 1664. The Martyrdom of St Serapion. 1628. Oil on canvas, hi 20 x w! 03 cm. h47Vi x w39’/2 in. Wadsworth Atheneum, Hartford, CT
Glossary of technical terms
Abstract Art Brut, Outsider Art Chiaroscuro Dye-transfer Print

Chiaroscuro means ‘light-dark’ in A complex form of early colour printing

A form of art which does not seek to A French term, coined by Jean Dubuffet
Italian and is used to describe the use in which a colour transparency was
represent the world around us. The term in 1947, which translates as ‘Crude art’
of light and shade in a work of art, photographed three times, in each case
is applicable to any art that does not but is often referred to as ‘Outsider art’.
It is used to describe work produced particularly when they are strongly through a different filter. These new
represent recognizable objects, but refers
outside the established art scene by the contrasting. Caravaggio and Rembrandt negatives were used to prepare further
particularly to forms of twentieth-
untutored (see Alfred Wallis), such as are well known for their use of this surfaces sensitive to the three subtractive
century art in which the idea of art as
children, the insane and criminals. It is technique, which they used for dramatic primary colours: cyan, magenta and
imitation of nature has been abandoned.
sometimes considered to be a more effect. The technique was particularly yellow. The dyes from these surfaces
Piet Mondrian and Kasimir Malevich
authentic form of expression. popular in the seventeenth century. were then transferred one at a time onto
were among abstraction’s early pioneers.
gelatin-coated paper, producing very

Assemblage Cibachrome stable results (see William Eggleston).

Acrylic
The process was introduced by the

A synthetic paint, first used in the 1940s, The incorporation of three-dimensional, Cibachromes are made from colour Jos Pe Company in 192;.

combining some of the properties of oil non-art materials and found objects transparencies. The paper used has

and watercolour. It can be used to create into a work, originally inspired by three silver-halide emulsion layers, each Figurative
a variety of effects from thin washes the techniques of collage. The roots one of which is dedicated to one primary
(see Morris Louis) to thick brushwork of assemblage lie in the early part of colour with its complementary. In the Art which depicts recognizable images

(see David Alfaro Siqueiros). the twentieth century when Pablo printing process, dyes are destroyed by of the world around us. These images

Picasso began using real objects in his chemical bleaching, leaving only those may be acutely accurate (see Chuck Close

Anti-art Cubist constructions — adding, for colours which make up the final image. and Richard Estes) or heavily distorted

example, a spoon to his witty sculpture, Cibachrome is an Ilford product, (see Georges Braque). The term

A term allegedly invented by Marcel Glass of Absinthe (1914). One of the marketed from 1963 onwards. ‘representational art’ is used synonym¬

Duchamp around 1914 to describe earliest and most famous antecedents ously with figurative art.

revolutionary forms of art. His addition of assemblage was Marcel Duchamp’s Classical see Antique
of an obscene caption and a moustache bicycle wheel attached to a stool, which Found Object
to a copy of Leonardo da Vinci’s Mona he labelled the ‘ready-made’. Later, Collage, Photomontage
Lisa is an example of anti-art. The term the Dadaists and Surrealists based their An everyday object, found by the artist

also sums up many of the anarchic work on surprising conjunctions of Collage, coming from the French world and incorporated into a work of art.

experiments of the Dadaists. It was later disparate objects and images. The roller (meaning ‘to stick’), is a technique Also known as an objet trouve, a found

used by the Conceptual artists of the technique was particularly popular in the in which pieces of paper, cloth and object often forms part of an
1960s to describe the work of those who late 1950s, when artists such as Jim Dine other miscellaneous objects are pasted assemblage, or is displayed on its own

claimed to have retired altogether from made assemblage works, assimilating onto a flat surface. The Cubists were the in an art context as a ready-made.

the practice of art, or at least from various materials, which included food first to use collage as a serious artistic Duchamp’s exhibition of a real bicycle

the production of works which could and junk, into painting and sculpture. technique (see Juan Gris). Photomontage wheel attached to a stool is the original
be sold. John Baldessari’s exhibition The growth of the use of assemblage in applies the same principles to the use of example of this art form, which was later
of the ashes of his burnt paintings twentieth-century art reflects an anarchic photographs; it was an important tech¬ taken up by the Dadaists (see Kurt
was seen as a typical anti-art gesture. approach to formal artistic practice. nique in Dadaism (see Raoul Hausmann Schwitters), the Surrealists (see Salvador
and Hannah Hoch) and Surrealism, and Dalf), the Pop artists (see Jim Dine)
Antique, Classical Body Art has also been used in Pop art by artists and the Nouveaux Realistes (see Jean
such as Richard Hamilton. Tinguely). By elevating ordinary objects
Terms referring to the civilizations The use of the body itself as the raw to the status of art, these artists
of Ancient Greece and Rome, and their material for art. This prime means Chromogenic Colour Print challenged accepted ideas about what
influence on the arts. Although some¬ of expression became widespread during constitutes art.
times considered interchangeable, the the 1960s and 1970s and became one of Chromogenic colour prints are also
terms have slightly different meanings. the most direct ways of exploring issues known as C-type or dye-coupler prints Fresco
‘The Antique’ generally refers to the of gender, sexuality and identity. Often (see Cindy Sherman and Stephen
physical remains of the Greek and it has tested the limits of human endur¬ Shore). The chromogenic process was Meaning ‘fresh’ in Italian, fresco is a
Roman world, such as architecture and ance, as exemplified by artists such introduced in the 1950s and was, for particular kind of wall painting in which
sculpture; this was a particularly popular as Marina Abramovic and Zhang Huan. most of the later twentieth and early pure pigment (colour) in powdered
theme in the eighteenth century (see At times, it has involved gruesome twenty-first centuries the most common form is mixed with water and applied to
Giovanni Paolo Pannini and Francesco acts of self-mutilation. Alongside type of colour photographic printing. a surface of wet, freshly laid lime plaster.
Zuccarelli). ‘Classical’ suggests a Performance, Land and Conceptual Chromogenic paper is coated with three This technique is known as buon fresco,
continuation of style or approach which art, it has taken art beyond the confines emulsion layers sensitized to primary or true fresco, to distinguish it from
can be traced directly to the Ancient of the gallery and raised questions of colours and protected by filters. The painting on dry plaster, known as fresco
world (seeJacques-Louis David and ownership and permanence. images are made from cyan, magenta and secco, which is far less durable as the
Hiram Powers). yellow dyes. pigment does not penetrate the
substance of the plaster. Fresco painting
is particularly appropriate to dry climates
 and was widely used in Italy from the public. They were particularly used brushstroke, or the marks of a palette Oeuvre
late Middle Ages (see Fra Angelico and by the Fluxus group and some of the knife. It also refers to the technique
Giotto) up to the seventeenth century Pop artists, includingjim Dine, Claes of application, which artists have used French word meaning the accumulated
(see Pietro da Cortona). Oldenburg and Andy Warhol. to evoke emotion, to create drama body of works produced by an artist over
through texture or emphasize their the course of his or her career.
Gelatin Silver Print History Painting struggle with paint.
Oil, Oilstick
The standard contemporary A term identifying paintings that Installation
monochrome print (see Ansel Adams depict both actual and legendary events Oil paint consists of pigment (colour)
and Eugene Atget). The paper (first and figures of the past, particularly those Originally used to describe the process bound together with an oil medium,
introduced in 1882) is treated with the of Classical antiquity and the Italian of positioning works in the gallery usually linseed oil. Its invention is usually
same gelatin silver emulsion used in Renaissance. In Europe it was considered setting, installation has also come credited to Jan van Eyck in the fifteenth
the gelatin dry-plate process. By 1895 by the Academies to be the highest to denote a distinct kind of art-making. century. Oil has the advantage over
the gelatin silver print had replaced the form of painting, a position reasserted In Installation art, the individual tempera of being slow to dry and
albumen print. by Sir Joshua Reynolds in his Discourses of elements arranged within a given space therefore reworkable. It can be applied
the late eighteenth century. The paintings can be viewed as a single work and with a brush (see Anton Raphael Mengs)
Genre Painting often served as models for engravings are often designed for a particular gallery or a palette knife (see Jean-Paul Riopelle),
that were reproduced in periodicals, (see Olafur Eliasson). Such works are generally onto canvas, though certain
Painting that depicts scenes of everyday which were a popular medium for con¬ known as site-specific and cannot be woods (particularly poplar) were used in
life rather than idealized or religious veying these historical themes to a wider reconstructed anywhere else: the setting earlier periods. Oilsticks are a more
subjects. Genre painting was particularly public. Many of the paintings were is as much part of the work as the things recent invention, combining some
popular in Holland in the seventeenth executed on large canvases, the scale an it contains. First appearing in the late of the properties of oil paint with those
century, and artists often specialized in appropriate expression of the subject’s 19 5 os and the early 1960s, when Pop of pastel crayons (seeJean-Michel
subjects such as tavern scenes (see Jan grandeur (see Eugene Delacroix). In artists such as Warhol began to design Basquiat). They come in various sizes
Steen), musical parties or simple interiors American art. History Painting reached environments for Happenings, and can either be gripped in the hand
(see Jan Vermeer). The style became more its zenith in the early to mid-nineteenth Installation art typically involves theat¬ like a pencil and applied ‘neat’, or diluted
prevalent elsewhere in the eighteenth century, paralleling the vogue for rical dramatizations of space (see Ilya with a suitable medium.
century with the work of Jean-Baptiste- the European Grand Tour as a way to and Emilia Kabakov). Installations are
Simeon Chardin in France, Pietro Longhi augment one’s cultural and artistic frequently temporary, and, due to the Outsider Art see Art Brut
in Italy and William Hogarth in England. education. While some artists concen¬ fact that they are often unsaleable, most
trated on scenes from mythology, others permanent installations are created Pastel
Gouache adopted the grand format for paintings specifically for major private collections.
of specific scenes from recent American A drawing material consisting of
Opaque watercolour, also known history (see John Singleton Copley and Land Art, Earth Art 581
a stick of pigment (colour) bound
as body colour. The pigments (particles Benjamin West). together with resin or gum. It is generally
of colour) are bound together with glue; A form of art which uses natural used on paper and a variety of effects
lighter tones are achieved by adding Illumination elements. Arising in the mid-1960s as can be achieved, from sharply defined
white (see Wifredo Lam). Gouache thus a reaction against the growing commer¬ lines to soft shading. The powdery nature
differs from transparent watercolour, Refers to the colourful decoration cialization of art, and the traditional of pastel means that without careful
where tone can be lightened simply by of manuscripts which was particularly context of the gallery or museum, handling the drawn image can quickly
adding water. The thick texture of popular from Medieval times to the Land art (also known as Earth art) deteriorate. Pastel dates back to
gouache can produce the same effects Renaissance. The term is derived from entered into a direct dialogue with the sixteenth-century Italy when colours
as oil paint, but it has the disadvantage the Latin word illuminare, meaning environment. Some artists brought were limited to black, white and terra¬
of producing a final tone which, ‘to adorn’. The manuscripts, made from nature into the gallery, while others cotta red. Its heyday was in the eighteenth
when dry, is lighter than it appears parchment or vellum (treated animal worked in the landscape, transforming century when it became popular in
during application. skin), were written by hand and it into abstract formations through portraiture; the medium underwent
colourfully painted with miniatures, ploughing, digging, levelling out and a revival in the nineteenth century with
Happening ornate capital letters and borders (see cutting away, which often required the work of the Impressionists (see
Andre Beauneveu, Pol, Jean and Herman the use of bulldozers and mechanical Jean-Etienne Liotard and Edgar Degas).
A fusion of art, theatre and dance de Limbourg). With the invention excavators (see Michael Heizer). Often
performed in front of an audience, of printing the illuminated manuscript large-scale and situated in remote places, Performance Art
and often involving participation. gradually went out of fashion and by Land art is frequently impermanent
The term was coined by the artist Allan the early sixteenth century relatively few and subject to the erosive forces of Closely related to dance and theatre,
Kaprow in 1959 and comes from the were produced. nature. It therefore relies on photography Performance art is also linked to
title of his multimedia event at the as a means of documentation (see Happenings and Body art. Its origins
Reuben Gallery in New York, which was Impasto Robert Smithson). lie in the New York Happenings of
called 18 Happenings in 6Parts. Originating the late 1950s, in which artists concocted
in the Dadaist performances at the This term has two meanings. It can refer theatrical contexts for their work in
Cabaret Voltaire, Happenings attempted to thickly applied pigment such as oil order to interact more immediately with
to bring art to the attention of a wider or acrylic, which often carries a visible their audiences. Performance art was
 sixteenth to the eighteenth centuries development and availability of video
characterized in the 1960s by its use of Ready-made
and is particularly suited to the ornate technology, and its use is historically
the body as a sculptural element in work
decorations of the Baroque and linked to artists’ forays into filmmaking.
which took place over a period of time A term originally coined by Duchamp
to describe a found object selected Rococo styles (see Francesco While some Video art is made for
before a live audience. In the 1970s,
by the artist and placed on its own in Primaticcio). Workers in stucco could television programmes, much is designed
artists influenced by popular culture,
stand-up comedy and video began talcing an art context. The most famous produce a material similar to marble for galleries and other spaces, often

example is the urinal which Duchamp by adding large quantities of glue and in the form of installations. Video art is
Performance art out of the gallery and
into theatres and clubs. Today the distinc¬ exhibited in its original state, calling colour to the mixture. Good stucco not constrained by the small screen —

tions between Performance art and other it Fountain. His intention was to challenge is only distinguishable from marble artists have projected videos onto

the viewer’s preconceptions about in that it is warmer to the touch. buildings or other objects, worked with
kinds of theatrical manifestations,
whether they take place in the gallery or what created ‘value’ in art. He implied multiple screens (see Pipilotti Rist), or

elsewhere, have blurred and they all come that it was not the object itself which Sublime made complex juxtapositions of video

under the umbrella term of ‘live art’. carried artistic content, but the context with lighting, sound and sculptural

in which the object was displayed. An aesthetic value that describes elements (see Francis Alys, Matthew

Prints Many subsequent artists have incor¬ the separate sensations of pleasure and Barney and Bill Viola).

porated ready-mades into their work, awe combined with the feeling of
A variety of techniques can be used to includingjoseph Beuys and Mike Kelley, personal vulnerability in the natural Watercolour
make prints, including woodblock, among others. world. First set out by Edmund Burke
woodcut, engraving, etching, silkscreen, in A Philosophical Enquiry into the Origin Pigment (colour) bound by a water-

screenprint, and lithography. Woodblock Sfumato of the Sublime and Beautiful., published in soluble medium such as gum arabic.

and woodcut are known as ‘relief 1757, the Sublime is most often associated This is usually diluted with water to the

methods’ because the parts of the block From the Italian word fumo, meaning with the Romantic spirit in art (see point where it is translucent, and applied

which are to print black are left in relief smoke, ‘sfumato’ describes the blending Caspar David Friedrich). At times to paper in broad areas known as washes.

while the rest is cut away (see Katsushika of tones or colours so subtly that they evoked by showing nature at its most White paper is often left exposed to

Hokusai). Engraving and etching are melt into one another to produce a dramatic (see John Martin and J M W create highlights and washes applied

‘intaglio methods’, in which the design ‘misty’ effect, as Leonardo da Vinci put it, Turner), in the nineteenth-century over one another to achieve gradations

is engraved on a metal plate, or in the ‘without lines or borders, in the manner the Sublime became a central theme in of tone (see Emil Nolde). Watercolour

case of etching bitten into the plate by of smoke’. Leonardo was himself paintings of the expansive terrains lends itself well to the creation of
means of acid (see Stanley William one of the greatest exponents of this of North America (see Albert Bierstadt atmospheric effects and was particularly
Hayter). In silkscreen and other forms method, as can be seen in the soft and Thomas Cole). popular with English eighteenth- and
of screen printing, a stencil is attached gradations between light and shade in nineteenth-century landscape painters
to a screen (traditionally made from the Mona Lisa. Tempera such as John Robert Cozens and
silk) stretched on a frame, and colour J M W Turner.
is forced through the unmasked areas Site-specific A paint made from ground pigment
of the screen (see Andy Warhol). With (colour) bound together with egg-yolk
lithography, the design is drawn with wax Art which is conceived and produced and water. This was the most common
onto a slab of stone and through the for a particular location or environment. technique for the production of easel
opposition of grease and water, areas The meaning of a site-specific work is paintings until the late fifteenth century
which receive and reject the printing ink often closely related to the place in (see Cimabue and Jean Fouquet).
are separated (see Alphonse Mucha). which it is situated. Political, social or Tempera was generally painted on
geographical aspects are taken into a white chalky substance called ‘gesso’
Psychoanalysis consideration and are intended by the which had been applied in layers
artist to frame the viewer’s experience to a wooden support. The absorbent
A method of studying the mind through and interpretation of the work (see nature of gesso and the quick-drying
an exploration of the subconscious, Gordon Matta-Clark). In some cases, qualities of tempera meant that the
psychoanalysis was developed by the the intention of this approach has been artist had to work quickly and accurately;
Austrian psychiatrist Sigmund Freud in an explicit rejection of the traditional reworking the image was virtually
the early twentieth century, and focuses context of the museum and other impossible. Despite the medium’s
on dreams or slips of the tongue — institutional spaces (see Jenny Holzer). decreased popularity in comparison to
moments when the mind expresses its It often takes the form of installation, oil there have been twentieth-century
true desires and fears. Psychoanalysis has Land art (see Robert Smithson) practitioners (see Giacomo Balia and
been used in the visual arts to analyse the and Public art (see Richard Serra). Edward Wadsworth).
hidden meanings of images - meanings
which may be different from the creator’s Stucco Video Art
conscious intentions. Freud’s ideas
were particularly important to Dali A light plaster, mixed with powdered Artists have used video since the 1960s,
and the Surrealists, who attempted to marble and glue and sometimes both to make a record of performances
free themselves from rational thought, reinforced with hair or wire, used for and other impermanent works, and as
creating works which sprang from sculpture and architectural decoration. a medium in its own right. The growth
the impulses of their subconscious. It was most widely used from the of Video art coincides with the
 Glossary of artistic movements
Abstract Expressionism methods that came about by impro¬ Bauhaus the sombre dramaticism of artists such as
visation. The work of Art Informel Caravaggio is equally termed Baroque.
A movement in American painting artists is extremely varied but they often The Bauhaus school was founded by
► Bernini, Caravaggio, Cuyp, Gentileschi, Guercino, Kalf,
that developed in New York in the 1940s. used free brushstrokes and thick layering the architect Walter Gropius at Weimar Rembrandt, Reni, Rubens, Sanchez-Cotan, Velazquez,
Most Abstract Expressionists were of paint. Like Abstract Expressionism, in 1919 and became the centre of Zurbaran

energetic (or ‘gestural’) painters. They which developed simultaneously in the modern design in Germany in the 1920s.
invariably used large canvases and USA, Art Informel is a very broad label Reflecting some of the socialist currents Der Blaue Reiter
applied paint rapidly and with force, and includes figurative (see Jean Fautrier) in Europe at the time, its philosophy
sometimes using large brushes, and non-figurative (see Hans Hartung) was to bring art and design into the A group of German Expressionists
sometimes dripping or even throwing painters. Although centred mainly on domain of daily life. Gropius believed founded in Munich in 1911. The name
paint directly onto the canvas. This Paris, its influence reached other parts that artists and architects should be translates as ‘The Blue Rider’ and was
expressive method of painting was often of Europe, notably Spain, Italy considered as craftsmen and that their taken from a painting by Kandinsky.
considered as important as the painting and Germany. creations should be practical and Although not strictly a movement with a
itself. Other Abstract Expressionist affordable. Bauhaus students included defined programme, the group did veer
► Burri, Dubuffet, Fautrier, Hartung, Hesse, Riopelle,
artists were concerned with adopting Soulages, De Stael, Tapies artists, architects, potters, weavers, more towards mysticism and spirituality
a peaceful and mystical approach to a sculptors and designers who studied than the other major Expressionist
purely abstract image. Not all the work Art Nouveau together in workshops as had the artists organization, Die Brucke. Key artists
from this movement was abstract (see and artisans of the Renaissance. The included Marc and Macke, who were
Willem de Kooning and Philip Guston) A French term which translates as characteristic Bauhaus style was simple, joined by Klee and Delaunay in 1912.
or expressive (see Barnett Newmann ‘new art’, Art Nouveau was a decorative geometrical and highly refined. In
► Delaunay, Kandinsky, Klee, Marc
and Mark Rothko), but it was generally style of architecture and interior design 1933 the school was closed by the Nazi
believed that the spontaneity of the that appeared in Europe and the USA in government claiming that it was a centre Die Brucke
artists’ approach to their work would the 1890s and transformed art and design. of communist intellectualism.
draw from and release the creativity of The movement was characterized by A group of Expressionist artists
► Albers, Kandinsky, Klee, Moholy-Nagy
their unconscious minds. stylized, sinuous lines and curving, organic formed in Dresden in 190 5. The name

► Francis, Frankenthaler, Guston, Hofmann, Kline, De

forms such as tendrils and leaves. Art Barbizon School translates as “The Bridge’, and suggests
Kooning, Motherwell, Newman, Pollock, Rothko, Still Nouveau painting is typified by extravag¬ that they saw their art as a bridge between
ant patterns and elegant female figures In the early to mid-nineteenth century that of the past and the future. A loose
Anthropological Photography with long, flowing hair (see Gustav Klimt). a number of French artists travelled to a association rather than a coherent group,
The sophisticated graphic work of small village 40 miles south-west of Paris. Die Brucke artists favoured vibrant
Photographs of country people, slum Aubrey Beardsley represents its tendencies The village is called Barbizon and lies colours (influenced in part by the
dwellers and non-Europeans were taken to eroticism and decadence (see also Egon on the outskirts of the Forest of Fauvists), simplified, natural forms
during the nineteenth century to intro¬ Schiele), while the designs of Charles Fontainebleau. Far from the pressures and an expressive use of line, which lent
583
duce such ‘outsiders’ to educated Rennie Mackintosh present a more of city life, these artists were able to take itself particularly well to graphic work.
audiences in London, Paris, Berlin and restrained, geometric version. The style their easels into the countryside and Artists associated with the group
the other major centres of learning. It was taken to new heights of fantasy paint from nature in the open air. They included Kirchner, Nolde and Pechstein.
was generally believed that tribespeople by the Spanish architect Antonio Gaudi. painted gentle landscapes and people at The group moved to Berlin in 1910, and
were doomed to extinction and ought work in the fields, and studied the fleeting was disbanded in 1913.
► Klimt, Munch, Schiele
to be recorded for posterity while it effects of light and atmospheric effects
► Heckel, Kirchner, Nolde, Pechstein
was still possible. Towards 1920, a new Arte Povera on the world around them.
interest in cultural relativism began
► Corot, Courbet, Daubigny, Millet, T Rousseau
The Camden Town Group
to make the old specimen photography Arte Povera - literally Toor Art’ -
look archaic. Anthropologists also was first defined as a movement in 1967 Baroque An English group of painters formed
started to take the view that the truth lay by the Italian critic Germano Celant, in 1911. The group often met in Walter
in social patterns and habits too subtle who became its main propagandist. The Baroque style flourished in Rome in Sickert’s studio in north London. They
to be recorded by the camera. Predominantly an Italian tendency, it the early 1600s and persisted in varying took much of their subject matter
remained influential until the late 1970s. degrees throughout Europe until the from urban working-class life and were
► Adams, Sander
The works, which were primarily three- eighteenth century. The name comes from influenced by the strong forms and
Art Informel dimensional sculptures, were made from the Italian word barocco, meaning bizarre colours used by artists such as Vincent
the simplest of materials and natural or zany. Baroque art is generally typified van Gogh and Paul Gauguin. In 1913
The French word informel means elements. Mud, twigs, cloth, rags, paper, by its dramatic exuberance and emotive it amalgamated with other groups to
‘without form’ rather than ‘informal’. felt and cement were all used in an attempt appeal to the viewer. The archetypal become the London Group.
In the 19 5 os Art Informel artists were to fuse nature and culture in a reflection Baroque religious picture might show
► Gilman, Sickert
looking for a new way to create images of contemporary life. The artists were the saints or the Madonna in a swirl of
without adopting the recognizable forms like alchemists, extracting metaphysical billowing draperies and fleecy clouds Cobra
used by their predecessors (see Cubism truths from these basic materials. surrounded by cherubs. Themes such as
and Expressionism). Their aim was Opposed to the cold detachment of subjects from Ancient mythology were An international association of artists
to abandon geometrical and figurative Minimalism, they desired a more also popular, and were treated in the that existed in Europe from 1948 to 19; 1
forms and to discover a new artistic sensory and impassioned type of art. same exaggerated manner. Not all art of The name Cobra was made up from the
language. They invented shapes and the period was so luxuriant, however, and initials of the cities in which the original
► Boetti, Merz
 members of the association were living were used to create structures remin¬ De Stijl of colour, was the inspiration for many
(Copenhagen, Brussels and Amsterdam). iscent of machine technology and were Expressionist painters.
The aim of the Cobra artists was to suspended in space in almost archi¬ An artistic movement and magazine ► Beckman, Van Gogh, Heckeljawlensky, Kirchner,

promote free expression of the uncon¬ tectural fashion. Although ‘pure’ founded in Holland in 1917 by Theo Kokoschka, Marc, Munch, Nolde, Pechstein, Rouault,
Schiele, Schmidt-Rottluff, Soutine
scious and they used thick free handling Constructivism was current in Russia van Doesburg and Piet Mondrian.
of paint and striking colours to give during the early years of the Revolution, These men believed that art should strive
their work vitality and force. They put its aims and ideals have been used by towards complete harmony, order and Fauvism
particular emphasis on the development artists throughout the twentieth century. clarity in a constant process of refine¬
of fantastical imagery derived from ment. The work of De Stijl was therefore In 190; an exhibition was held in Paris
► Gabo, Lissitzky, Moholy-Nagy, Rodchenko, Tatlin
Nordic folklore, and from mystical austere and geometrical, using mainly which included a room full of paintings
symbols of the unconscious rather than Cubism square forms. It was composed of the that blazed with pure, highly contrasting
purely abstract forms. simplest elements: straight lines and colours. They seemed to have been
This revolutionary method of pure primary colours. The movement’s painted with great enthusiasm and
► Appel
representation was invented by Pablo aims were deeply philosophical and were passion. One critic dubbed the creators
Conceptual Art Picasso and Georges Braque in the rooted in the idea that art should in of these paintings ‘/esfames' — French
first decade of the twentieth century. some way reflect the mystery and order for ‘wild beasts’ — and the name stuck.
In Conceptual Art it is the ‘concept’ Although it may appear abstract and of the universe. The movement came This ‘wildness’ manifested itself mainly
behind the work, rather than the technical geometrical. Cubist art does depict to an end in 19 31 after Van Doesburg’s in the strong colours, dynamic brushwork
skill of the artist in making it, that is real objects. These are ‘flattened’ onto death, but had a profound effect on and expressive depth of their pictures,
important. Conceptual Art became a the canvas so that different sides of architecture and the applied arts which evoke a fantastical, joyous world
major international phenomenon in the each shape can be shown simultaneously. in Europe. of heightened emotion and colour.
1960s and its manifestations have been Instead of creating the illusion of an ► Van Doesburg, Mondrian ► Derain, Van Dongen, Matisse, Vlaminck
very diverse. The ideas or ‘concepts’ may object in space, as artists had endeav¬
be communicated using a variety of oured to do since the Renaissance, Documentary Photography Feminism
different media, including texts, maps, Cubist art defines objects in the two-
diagrams, film/video, photographs and dimensional terms of the canvas. This Photographers have been document- Primarily a political movement, feminism
performances, and displayed in a gallery innovation gave rise to an extraordinary arists since the invention of the medium. has had a huge impact on twentieth-
or designed for a specific site. In some reassessment of the interaction between Government agencies, such as the century art. Its rejection of the notion
cases the landscape itself becomes an form and space, changing the course French Commission des monuments that a heterosexual, white, male view
integral part of the artist’s work, as in the of Western art forever. historiques in the early 1850s, tended of the world is a universal one has influ¬
‘land art’ of Richard Long or the ‘environ¬ to think of photographic records as enced not only artists but also art
► Archipenko, Braque, Gris, Leger, Picasso
mental sculptures’ of Christo and Jeanne- potentially valuable and as supplements historians and critics. The term ‘feminist
Claude. The ideas expressed through Dada to written records. Documentary was art’ emerged only in the 1960s, but
584
Conceptual work have been drawn from always undertaken on behalf of women artists have been fighting for,
philosophy, feminism, psychoanalysis, The name Dada is deliberately meaning¬ posterity, as opposed to reportage which and winning, increased visibility since the
film studies and political activism. The less and was given to an international involves news for contemporaries. Roy start of the twentieth century. As a move
notion of the Conceptual artist as a maker ‘anti-art’ movement that flourished from Stryker’s Farm Security Administration away from male-dominated traditions
of ideas rather than objects undermines 1915 to 1922. Its main centre of activity (FSA) project in the USA in the 1930s of painting, they have been experiment¬
traditional ideas about the status of the was the Cabaret Voltaire in Zurich, where is the most celebrated of all docu¬ ing with crafts, film, video, performance,
artist and the art object. ‘Arte Povera’, a like-minded poets, artists, writers and mentary undertakings. installation and text-based art. By
Conceptual tendency that established musicians would participate in changing the ground rules of how art is
► Atget, Cartier-Bresson, W. Evans, Frank, Kertesz, Le
itself in Italy in the 1960s, developed this experimental activities such as nonsense Gray, Sander both made and perceived, feminism
idea by using banal and worthless materials poetry, ‘noise music’ and automatic has influenced the work of a number of
(see Joseph Beuys and Mario Merz). drawing. Dada was a violent reaction to Expressionism artists such as Sophie Calle, Barbara
the snobbery and traditionalism of the Kruger and Cindy Sherman, who exam¬
► Boldessari, Beuys, Buren, Calle, Gonzalez-Torres, Graham,
Holzer, Kawara, Long, Merz, Nauman, A Piper, Viola art establishment: its members were An artistic force concentrated mainly ine the way in which women have been
ready to use any means to cause outrage in Germany from 1905 to 1930. represented by men. Feminists have
Constructivism among the bourgeoisie. A typical Dada Expressionist artists sought to develop also questioned the accepted orthodoxies
work of art was the ‘ready-made’, pictorial forms which would express of art history, initiating research into
An abstract art movement that was essentially an ordinary object taken from their innermost feelings rather than women artists who had been overlooked
founded in Russia in 1913. Construct¬ its original context and put on exhibit as represent the external world. Expres¬ by generations of scholars.
ivism swept awa}' traditional notions ‘art’. The Dada movement, with its cult sionist painting is intense, passionate and
► Calle, Holzer, Kruger, Sherman
about art, believing that it should imitate of the irrational, was important in highly personal, based on the concept
the forms and processes of modern preparing the ground for the advent of of the painter’s canvas as a vehicle for Fluxus
technology. This was especially true of Surrealism in the 1920s. demonstrating emotions. Violent, unreal
sculpture, which was ‘constructed’ out ► Arp, Duchamp, Hausmann, Hoch, Man Ray, Schwitters
colour and dramatic brushwork make Active between the early 1960s and the
of component parts using industrial the typical Expressionist painting quiver mid-1970s, Fluxus was as much a state of
materials and techniques. In painting, the with vitality. It is not surprising that mind as a particular style. The term was
same principles were applied within a Vincent van Gogh, with his frenzied first used in 1961 by George Manciunas,
two-dimensional format; abstract forms painting technique and extraordinary use and was intended to describe a condition
of perpetual activity and change. Fluxus Impressionism Minimalism work of particular artists in the USA
had a similar iconoclastic ideology to and Europe, especially Germany, in the
Dada and was focused on a loosely A movement in painting that originated A trend in painting and sculpture that late 1970s. Neo-Expressionist works
interconnected, revolutionary group of in France in the 1860s. Impressionist developed primarily in the USA during tend to be highly personal, often executed
artists in Europe and the USA, who painters celebrated the overwhelming the 1960s and 1970s. As the name with violent fervour. Neo-Romanticism
reacted against traditional art forms. The vision of nature seen in the splendour implies. Minimalist Art is pared down refers to a strongly theatrical form
style manifested itself in Happenings, of natural light — whether dawn, daylight to its essentials; it is purely abstract, of twentieth-century painting which
interactive performances, videos, poetry or twilight. They were fascinated by the objective and anonymous, free of combines both Romantic and
and found objects, and was important relationship between light and colour, surface decoration or expressive gesture. Surrealist elements.
in paving the way for Performance and painting in pure pigment using free Minimalist painting and drawing is ► (Neo-Classicism) Alma-Tadema, Canova, J-L David,
Conceptual Art. brushstrokes. They were also radical monochromatic and often draws on Gerome, Ingres, Leighton, Mengs, Powers, Prud'hon;
(Neo-Expressionism) Auerbach, Baselitz, Bomberg, Boyd,
in their choice of subject matter, avoid¬ mathematically derived grids and linear
► Beuys Clemente, Frink, Kiefer, Schnabel; (Neo-Romanticism)
ing traditional historical, religious or matrices; yet it can also evoke a sensation Nash, Piper

Futurism romantic themes to concentrate on of the sublime and of states of being.

landscapes and scenes of everyday life. Sculptors used industrial processes Die Neue Sachlichkeit
An avant-garde movement founded in The movement’s name, initially coined and materials, such as steel, Perspex,
Milan in 1909. Its members aimed to in derision by a journalist, was inspired even fluorescent tubes, to produce A stylistic tendency within the German
liberate Italy from the weight of its past by one of Claude Monet’s paintings geometric forms, often made in series. Expressionist movement in the 1920s
and to glorify modernity. The Futurists entitled Impression — Sunrise. This sculpture has no illusionistic which reflected the cynicism that per¬
were fascinated by modern machinery, properties, relying instead on a bodily vaded Germany after the First World War.
► Caillebotte, Cassatt, Degas, Manet, Monet, Morisot,
transport and communications. In Pissarro, Renoir, Sisley experience of the work by the spectator. It translates as The New Objectivity’.
painting and sculpture, angular forms Minimalism can be seen as a reaction Artists of the Neue Sachlichkeit group,
and powerful lines were used to convey Kinetic Art against the emotionalism of Abstract who included Dix and Grosz, tended to
a sense of dynamism. One of the main Expressionism, which had dominated put a greater emphasis on social criticism

features of Futurist art was its attempt Term used to describe art incorporating modern art through the 1950s. and political comment than other
to capture movement and speed: this real or apparent movement. The idea was Expressionists, who dealt with more
► Andre, Flavin, Judd, Kelly, LeWitt, Mangold, Ryman,
was usually achieved by depicting several first introduced in the 1920s but reached Serra, Stella subjective and emotional themes.

images of the same object or figure in its height of popularity during the 1950s ► Dix, Grosz, Schad

slightly differing positions at the same and 1960s. Kinetic art may be quite Nabis
time, giving the impression of a flurry simple (such as Alexander Calder’s wind- New York School
of movement. driven mobiles) or complex (such as Jean A small group of French artists, active
Tinguely’s motor-operated sculptures). in the 18 80s, who were inspired by Paul Originally a term synonymous with
► Balia, Boccioni
The term may also be applied to works Gauguin’s method of painting in pure Abstract Expressionism, the New
585
Gothic of art that use light effects to give the colour. Their approach is epitomized by York School is used more generally now
viewer the illusion of movement. a statement by Maurice Denis, one of to signify the Western art world’s shift -

Predominant in the Middle Ages the group’s members: ‘Remember that both physically and conceptually - to
► Colder, Tinguely
(from around 115 o to 1500), this is the a picture, before being a horse, a nude, New York City in the years after Second

style of the great cathedrals of Europe. Mannerism or some kind of anecdote, is essentially a World War and continuing through the

Altarpieces made during this time flat surface covered with colours.’ As well 1960s. The term originated with a 1965

had elaborate crenellations which A development of the Renaissance style, as painting the group was interested in Los Angeles County Museum of Art

mimicked church architecture. Gothic Mannerism is generally seen as a reaction print-making, posters, book illustrations, exhibition, The New York School: The

paintings and sculptures are charac¬ against the harmony, order and perfection textiles and theatre design. First Generation Painting of the 1940s

terized by elongated figures which are of the fifteenth and early sixteenth and 19 5 os,’ which featured the work
► Bonnard, Denis, Maillol, Vallotton, Vuillard

highly patterned. In painting, there is centuries. The style was prevalent in Italy of Willem de Kooning, Philip Guston,

often little attempt to depict three- between 1; 20 and 1600. It is characterized Neo (-Classicism, -Expressionism, Robert Motherwell, Jackson Pollock, and

dimensional space. The perspective that by a use of bright, almost garish colours, -Romanticism) Mark Rothko, among others. Paintings

elaborate compositions, exaggerated by the first generation of New York

was employed is usually random and
forms and dramatic movement. The term The prefix ‘neo’, meaning ‘new’, refers to School artists were large and abstract,
unconvincing. At the end of the
originates in the use of the word maniera, a revival of trends or ideas. Neo-Classicism, and emphasized bold, aggressive brush¬
fourteenth century there was a move
meaning ‘stylishness’ and signifying grace, for example, was a movement that strokes; critic Harold Rosenberg coined
towards greater elegance and refinement,
poise and harmony. The word has developed in the latter half of the eight¬ the phrase ‘action painting’ to describe
and an increased interest in natural
developed a variety of meanings over the eenth century; its aims were a return these works. Subjective and highly ges¬
themes. Minutely detailed depictions
centuries; however, it is generally asso¬ to Classical values and a revival of the tural, they addressed the theme of
of plants and animals became a common
ciated with art and artists who openly elegant styles of Ancient Greek and human impulse and desires, in addition
feature in paintings. Because this later
demonstrated excessive skill, virtuosity Roman art. In art and architecture it is to commenting on society’s need to
style was not confined to one country,
and caprice. characterized by a preference for line and impose order on such expression and to
it is often called International Gothic.
symmetry, and by its frequent borrowing define and control taboos through myth.
► Beauneveu, Cimabue, Duccio, Fouquet, Gaddi, Gentile ► Bronzino, Cellini, Giambologna, Giulio Romano, El
da Fabriano, limbourg, Lorenzetti, Lorenzo Monaco, Greco, Parmigianino, Pontormo, Rosso, Tintoretto from Antique sources. Neo-Expressionism ► Frankenthaler, Gorky, Kline, De Kooning, Newman,
Martini, Della Quercia refers to the re-emergence of Pollock, Rauschenberg, Reinhardt, Rothko, D. Smith, Still

Expressionist characteristics in the

 Op Art evoke the sincerity of early Italian art Predominantly a style of interior Surrealism
before the High Renaissance master decoration, the Rococo is typified by
A movement in abstract art that Raphael, as exemplified by artists such charm and playfulness and a palette Surrealism originated in France in the
developed in the 1960s and continues as Sandro Botticelli and Filippo Lippi. of pastel colours. Its subject matter 1920s. In the words of its main theorist,
today. Op Art (short for ‘optical art’) Pre-Raphaelite pictures frequently depict frequently dealt with the leisurely the writer Andre Breton, its aim was to
exploits the fallibility of the human eye. literary, historical and religious scenes pastimes of the aristocracy. ‘resolve the previously contradictory
Although the work of art itself is static, and often make moralizing comments on conditions of dream and reality’, and
► Amigoni, Boucher, Fragonard, Tiepolo, Watteau
the forms and colours used by the artist social behaviour and relationships. The the ways in which this was achieved
cause an optical illusion of movement. artists painted richly textured and Romanticism varied widely Artists painted unnerving

► Riley, Vasarely minutely detailed pictures which show and illogical scenes with photographic
particular interest in the decorative A movement in the arts that flourished precision, created strange creatures from
Pittura Metafisica (Metaphysical qualities of flowers and fabric. in northern Europe and the USA during collections of everyday objects, or
Painting) the late eighteenth and early nineteenth developed techniques of painting which
► Brown, Burne-Jones, Hunt, Millais, Rossetti, Waterhouse
centuries. Romanticism is so varied in would allow the unconscious to express
Metaphysical Painting was founded in Renaissance its manifestations that a single definition itself. Surrealist pictures, while figurative,
Italy in 1917 by Giorgio de Chirico and is almost impossible. Romantic artists represent an alien world, whose images
Carlo Carra. It is characterized by dis¬ Throughout the Middle Ages man lived turned away from intellectual disciplines range from dreamlike serenity to
torted perspectives, unnatural lighting in fear of God and within the omni¬ and placed importance on the imagin¬ nightmarish fantasy.
and strange imagery, often using presence of the Church. Art generally ation and individual expression. Their
► Bellmer, Brauner, Cahun, Dali, Delvaux, Ernst, Kahlo,
tailors’ dummies and statues instead showed the heavens and saints, and bore paintings often depict grand emotions Gorky, Magritte, Matta, Miro, Tanguy, Wadsworth

of the human body. By placing objects little relation to what was happening such as fear, desolation, victory, and true
in unlikely contexts, the Metaphysical on earth. From the fourteenth century, love. The movement had officially died Symbolism
Painters aimed to create a dreamlike, however, man began to realize his out by the mid-nineteenth century but
magical atmosphere. In this respect importance and effect on the world. This romantic tendencies have survived into A literary and artistic movement that
the movement has much in common rebirth (or ‘renaissance’) was reflected in the twentieth century in artistic strains flourished in France in the late nine¬
with Surrealism, but it differs from art: figures became more life-like, space such as Expressionism and Neo- teenth century. Symbolist artists rejected
Surrealism in its concern with rigid became more real and the Christian story Expressionism. realism, believing that painting should
compositional structure and began to be told from a human point convey ideas and states of mind rather
► Allston, Bierstadt, Blake, Church, Cole, Constable,
architectural values. of view. As the decades continued artists Cozens, Etty, Friedrich, Gericault, Goya, Martin, Turner than simply describe the visible world.
► Carra, De Chirico, Delvaux
were able to recreate the world on panels, Their styles varied from jewel-like
frescos and altarpieces with increasing St Ives Group richness to pale serenity but their com¬
Pop Art ease. Beginning with the stylized works mon interest was in conveying a feeling
of Giotto and Masaccio, the Renaissance A group of artists who lived and worked of other-worldliness. Subjects of a
586
A movement in the USA and Britain culminated in the monumental creations in the Cornish seaside town of St Ives in religious or mythological flavour were
that emerged in the 1950s and took its of Leonardo, Raphael and Michelangelo. the early 1940s. Key members of the popular, and eroticism, death and sin
inspiration from the imagery of con¬ Although generally associated with Italy, group were Hepworth and Nicholson, were common themes.
sumer society and pop culture. Comic the Renaissance also developed inde¬ who moved to St Ives during the Second
► Moreau, Redon
strips, advertising and mass-produced pendently north of the Alps in Germany World War. Although each had their own
objects all played a part in this move¬ and Flanders. While Italian Renaissance individual style, they all worked in the Vorticism
ment, which was characterized by one artists laid emphasis on perspective and abstract tradition, producing works
of its members, Richard Hamilton, as the illusion of space, Flemish and influenced by the light, sea and landscape An English avant-garde movement
‘popular, transient, expendable, low cost, German artists were more interested in of their immediate surroundings. founded by Wyndham Lewis in 1914.
mass-produced, young, witty, sexy, a detailed, jewel-like depiction of the The name Vorticism came from the poet
► Hepworth, Heron, B Nicholson, Wallis
gimmicky, glamorous and Big Business’. world around them. Ezra Pound, and was derived from his
The brashness of subject matter is often The Viennese Secession statement that the vortex is the point of
► (Early Renaissance) Fra Angelico, Botticelli, Donatello,
emphasized by hard-edged photograph¬ Ghiberti, Ghirlandaio, Giotto, Giovanni di Paolo, maximum energy. Like Futurism,
Filippino Lippi, Mantegna, Masaccio, Perugino, Piero
like techniques in painting and minute An avant-garde group founded in 1897 Vorticism employed a harsh, angular
della Francesca, Pollaiuolo, Signorelli, Verrocchio;
attention to detail in sculpture. (High Renaissance) Andrea del Sarto, Fra Bartolommeo, by the artist Klimt. Its aim was to break and highly dynamic style in both painting
Leonardo da Vinci, Michelangelo, Raphael, Titian;
Photomontage, collage and assemblage away from the established artistic bodies and sculpture and aimed at capturing
(Northern Renaissance) Altdorfer, Durer, Elsheimer,
are also common in Pop Art. Gossaert, Grunewald, Massys, Van der Weyden and raise the level of production of arts activity and movement. Although
► P Blake, Dine, Hamilton, Hockney, Johns, Jones, Katz, and crafts in Austria to that of other Vorticism did not survive the First World
Kitaj, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Rococo European countries. Many of the group War, it was significant as the first move¬
Ruscha, Segal, Thiebaud, Warhol, Wesselmann
were based at the movement’s head¬ ment towards abstraction in British art.
A light, playful and decorative style that quarters, the Viennese Workshop. The
► Bomberg, Lewis
Pre-Raphaelite Brotherhood emerged in France around 1700 and was Secession style was close to Art
disseminated throughout Europe in Nouveau. Other Secession groups were
An association of young English artists the eighteenth century. The term comes formed in Munich and Berlin at around
formed in 1848. Dismayed at what from the French word rocaille, meaning the same time.
they saw as the decadent state of British the fancy shell- and rockwork used to
► Klimt, Schiele
painting, the Pre-Raphaelites sought to decorate fountains and grottoes.
Directory of museums and galleries
Australia Czech Republic Centre National des Arts Plastiques Leonardo da Vinci, Mona Hisa
Tour Atlantique Pisanello, Ginevra d’Este
Art Gallery of New South Wales Narodni Galerie I place de la Pyramide Poussin, The Arcadian Shepherds
Sydney nsw 2000 Hradcanske nam 15 92911 Paris Prud’hon, The Empress Josephine
11904 Prague 1 Rigaud, Houis XIV
Boyd, The Australian Scapegoat Orozco, Ha DS
Schiele, Seated Woman with Bent Knee Musee Marmottan Monet
Austria Musee Bourdelle 2 rue Louis Boilly
Denmark 16 rue Antoine-Bourdelle 75016 Paris
Kunsthistorisches Museum 7501; Paris
Burgring 5 Skagens Museum Monet, Impression, Sunrise
1010 Vienna Erondumsvej Bourdelle, Herakles
9990 Skagen Musee National Auguste Rodin
Giovanni Bellini, Young Woman at her Toilet Musee d’Art Moderne 79 rue de Varenne
P Bruegel, Peasant Wedding Kroyer, Summer Evening on the de la Ville de Paris 75007 Paris
Cellini, Salt Cellar Southern Beach II ave du President Wilson
Van der Goes, The Fall of Man 75116 Paris Rodin, The Kiss
Gossaert, Saint Tuke Painting the Virgin France
Sittow, Katherine of Aragon Delaunay, Homage to Bleriot Musee National d’Art Moderne
Musee National Fernand Leger Centre National d’Art et de Culture
Osterreichische Galerie Chemin du Val de Pome Musee de l’Orangerie Georges Pompidou
Prinz Eugen-strasse 27 06410 Biot Place de la Concorde Place Georges Pompidou
1037 Vienna 75001 Paris 7 5 004 Paris
Leger, The Builders
Klimt, The Kiss Soutine, The Tittle Pastry Cook D ix, Portrait of the Journalist Sylvia
Musee Conde Utrillo, Flag Over the Town Hall von Harden
Belgium Chateau de Chantilly Graham, Present Continuous Past(s)
bp 243,60631 Chantilly Musee d’Orsay Tatlin, Monument to the Third International
Koninklijk Museum voor 1 rue de Bellechasse
Schone Kunsten Limbourg, January 7 5 007 Paris Musee des Beaux-Arts
Leopold de Waelplein De Troy, The Oyster Hunch Place Saint Corentin
2000 Antwerp Bazille, The Artist’s Studio on 29000 Quimper
Musee d’Unterlinden the rue de la Condamine
587
Ensor, Skeletons Fighting for the Body 1 place d’Unterlinden Boudin, The Beach at Trouville Vallotton, Handscape with Trees

of a Hanged Man 68000 Colmar Cassatt, Woman Sewing

Fouquet, Virgin and Child Van Gogh, Self-portrait Musee des Beaux-Arts
Grunewald, The Crucifixion Manet, He dejeuner sur I’herbe 26 bis rue Thiers

Memlingmuseum Het Millet, The Gleaners 76000 Rouen

Sint-Janshospitaal Chateau de Fontainebleau Morisot, The Cradle

Mariastraat 3 8 77300 Fontainebleau Orpen, The Cafe Royal in Hondon Daubigny, The Hock at Optevo%

Bruges Pissarro, Handscape at Chaponval

Primaticcio, Dana'e Renoir, Ball at the Moulin de la Galette Musee Departemental du Prieure

Memling, Saint John Altarpiece Signac, The Papal Palace, Avignon 2 bis rue Maurice Denis
Musee Fabre Sisley, Snow at Houveciennes 78100 Saint-Germain-en-Laye

Musees Royaux des Beaux-Arts 39 boulevard Bonne Nouvelle

de Belgique 34000 Montpellier Musee du Louvre Denis, Portrait of Yvonne Hero lie

9 rue du Musee Palais du Louvre

Courbet, Bonjour, Monsieur Courbet 75001 Paris Musee National du Chateau
1000 Brussels
de Versailles

Musee des Beaux-Arts Arcimboldo, Summer 78000 Versailles

J-L David, The Death of Marat
Vuillard, Two Schoolboys 1 o rue Georges-Clemenceau Boucher, Odalisque
44000 Nantes Canova, Cupid and Psyche Delacroix, The Battle of Taillebourg

Canada Champaigne, The Hast Supper

Greuze, The Guitarist G David, The Marriage Feast at Cana

Art Gallery of Ontario Gericault, Officer of the Hussars

317 Dundas Street West Bibliotheque Nationale De Heem, StillHfie of Dessert

Toronto, ON, mjt 1G4 5 8 rue de Richelieu Houdon, Bust of Denis Diderot
75084 Paris Ingres, The Bather of Valpinfon

Oldenburg, Giant Hamburger Jordaens, The Four Evangelists

Beauneveu, SaintPhilip La Tour, The Cheat with the Ace of Diamonds
 Germany Staadiche Kunstsammlungen Kassel Cimabue, The Santa Trinitd Madonna Casino dell’Aurora
Schloss Wilhelmshohe Clouet, Portrait of Franfois I on Horseback Palazzo Pallavicini Rospiglios
Neue Nationalgalerie Staatliche 3500 Kassel Duccio, The Rucellai Madonna Via 24 Maggio 43
Museen zu Berlin Ter Brugghen, The Elute Player Gentile da Fabriano, The Adoration 00184 Rome
Potsdamer StraBe 50 of the Magi
1078; Berlin Alte Pinakothek Gentileschi, Judith and Holofernes Rexd, Aurora
Barerstrasse 27 Filippino Lippi, Portrait of an Old Man
Hoch, Cut with the Kitchen Knife... 8000 Munich 40 Filippo Lippi, The Coronation of the Virgin Palazzo Barberini
Lorenzo Monaco, The Coronation of the Via Quattro Fontane 13
Schloss Charlottenburg Altdorfer, Battle of Alexander at Issus Virgin 00184 Rome
Luisenplatz Luini, The Executioner Presents]ohn the
1000 Berlin 19 Stiftung Schlosser und Baptist’s Head to Herod Pietro da Cortona, Glorification of the Rule
Garten Potsdam-Sanssouci Martini, The Annunciation of Urban VIII
Watteau, The Embarkation for Cythera Park Sanssouci Orcagna, Saint Matthew and Stories from his
0-1500 Potsdam Ufe Palazzo del Vaticano
Ludwig Roselius Sammlung Palma Vecchio, The Holy Family with Mary 00120 Vatican City
Bottcherstrasse 4 Caravaggio, Doubting Thomas Magdalene and the Infant Saint John Rome
2800 Bremen 1 Parmigianino, The Madonna with the Tong
Staatsgalerie Stuttgart Neck Raphael, The School of Athens
Modersohn-Becker, Old Poorhouse Woman Konrad-Adenauer-Strasse 30-32 Piero di Cosimo, Perseus Freeing Andromeda
with a Glass Pottle 7000 Stuttgart Rosso Fiorentino, Moses Defends the Papal Basihca of Saint Peter
Daughters of Jethro Piazza San Pietro
Wallraf-Richartz Museum Marc, Tittle Yellow Horses Salviati, Charity Vatican City
Bischofsgartenstrasse 1 Sebastiano del Piombo, The Death of Adonis Rome
5000 Cologne 1 Kunsthalle Tubingen Vigee-Lebrun, Self-portrait
Philosophenweg 76 Michelangelo, Pieta
Lochner, The Virgin and Child in a Rose Arbour 7400 Tubingen 1 Palazzo Pitti
Piazza Pitti 1 Palazzo Pubblico
Staatliche Kunstsammlungen Hamilton, Just What is it That Makes 50100 Florence Piazza del Campo
Dresden Today’s Homes So Different, So 53100 Siena
Georg-Treu-Platz 1 Appealing'? Fra Bartolommeo, Resurrected Christ with
PSF 450 Saints Lorenzetti, Allegory of Good Government
8012 Dresden Italy
588
Museo Nazionale del Bargello Pinacoteca Nazionale di Siena
Correggio, The Nativity Basihca di San Francesco d’Assisi Via del Proconsolo 4 Via San Pietro 31
Liotard, The Chocolate Pot Piazza San Francesco 2 50x22 Florence 53100 Siena
06081 Assisi
Wilhelm-Lehmbruck Museum Algardi, Bust of Cardinal Paolo Emilio Sodoma, The Descent from the Cross
Diisseldorferstrasse ; 1 Piero della Francesca, The Procession Zacchia
4x00 Duisburg of the Queen of Sheba Donatello, David Galleria Internazionale d’Arte
Della Robbia, Madonna and Child between Moderna di Ca’ Pesaro
Heckel, Windmill, Dangast Pinacoteca Nazionale Two Angels Santa Croce 2076
Via Belle Arti 56 Verrocchio, Bust of a Woman Holding a 30100 Venice
Stadelsches Kunstinstitut 40100 Bologna Nosegay
und Stadtische Galerie Manzu, The Cardinal
Schaumainkai 63 Perugino, The Virgin and Child with Saints Pinacoteca di Brera
6000 Frankfurt 70 Via Brera 28 Galleria dell’Accademia
Palazzo Schifanoia 20121 Milan Campo della Carita 1059A
Cranach, Venus Via Scandiana 2 3 30121 Venice
44100 Ferrara Carra, The Metaphysical Muse
Hamburger Kunsthalle Signorelli, The Flagellation of Christ Gentile Bellini, The Miracle of the True
Glockengiesserwall Del Cossa, May Cross near the San Eorenyo Bridge
2000 Hamburg 1 Galleria e Museo Estense Bordone, Presentation of the Ring to the Doge
Galleria degli Uffizi Piazza Sant Agostino 109 of Venice
Friedrich, The Wreck of the Hope Piazzale degli Uffizi 41100 Modena Giorgione, The Tempest
Kirchner, Self-portrait with Model 50122 Florence
Overbeck, The Adoration of the Magi Dossi, Alfonso I d’Este Museo Correr
Andrea del Sarto, Madonna of the Harpies Piazza San Marco ; 2
Botticelli, Spring 30100 Venice
Catena, The SupperatEmmaus
Carpaccio, Two Venetian Ladies on a Balcony Norway Museo Nacional del Prado Bellotto, View of the Ponte del/e Navi, Verona
Paseo del Prado Elsheimer, The Stoning of Saint Stephen
Palazzo Labia Nas j onalgalleriet 28014 Madrid Massys, Portrait of a Man
Cannaregio 27 5 Universitetsgaten 13 Raeburn, The Reverend Robert Walker
Campo San Geremia 003 3 Oslo 1 Baldung, The Three Ages of Man and Death Skating on Duddingston Loch
Venice Bassano, The Animals Entering the Ark Ramsay, Lady Robert Manners
Munch, The Madonna Domenichino, The Sacrifice of Isaac Titian, Diana andActaeon
Tiepolo, The Meeting of Antony Diirer, Self-portrait with Gloves Wilkie, The Letter of Introduction
and Cleopatra Portugal Gaddi, Saint Eligius in the Goldsmith’s Shop Scottish National Gallery of
Giordano, The Dream of Solomon Modern Art
Mexico Museu Nacional de Arte Antiga Murillo, The Immaculate Conception Belford Road
Rua das Janelas Verdes of theEscorial Edinburgh EH4 3 DR

Museo de Arte Alvar y 1293 Lisbon Ribera, Saint Paul the Hermit
Carmen T de Carillo Velazquez, Las Meninas Kitaj, If Not, Not
Avenida Revolucion 1608 Bosch, The Tribulations of Saint Anthony Veronese, The Finding of Moses Kokoschka, Portrait of a Degenerate Artist’
01000 Mexico City df Vouet, Time Overcome by, Hope Love and Beauty Lichtenstein, In the Car
Romania Van der Weyden, The Descent from the Cross Nicholson, The Lustre Bowl with Green Peas
Siqueiros, Death and Funeral of Cain
Muzeul de Arta Switzerland The Burrell Collection
The Netherlands CaleaUnirii 15 Pollok Country Park
1100 Craiova Offentliche Kunstsammlung 2060 Pollokshaws Road
Stedelijk Museum Kunstmuseum Basel Glasgow ga 3 1 AT

Paulus Potterstraat 13 Brancusi, The Kiss St Alban-Graben 16

1071 CX Amsterdam CH-4010 Basel Degas, The Rehearsal
Russia
Kienholz, The Beanery Bocklin, Centaur’s Combat Jersey Museum and Art Gallery
Malevich, Suprematism Tretyakov Gallery Klee, Senecio The Weighbridge
Merz, Unreal City Lavrushensky Per 10 Wall, After Invisible Man ’ by Ralph Ellison, St Helier JE2 3NG

109017 Moscow the Prologue

Rijksmuseum Cahun, Untitled (Self-portrait)
Jan Luijkenstraat 1 Chagall, Above the Town Musee d’Art et d’Histoire
1071 cj Amsterdam Ivanov, The Appearance of Christ to the People 2 rue Charles Galland Leeds City Art Gallery
1211 Geneva 3 The Headrow
589
Vermeer, Woman in Blue Reading a Letter Hermitage Museum Leeds lsi 3AA
Dvortsovaya nab 34 Hodler, Lake Thun
Mauritshuis St Petersburg Witz, The Miraculous Draught of Fishes Grimshaw, Nigh fall down the Thames
Korte Vijverberg 8
2513 AB The Hague Gros, Napoleon Bonaparte on the Bridge UK British Museum
atArcole Great Russell Street

Fabritius, The Goldfinch De Hooch, Woman and a Maid with a Pail Towneley Hall Art Gallery London wcib 3DG

in a Courtyard Burnley bb 11 3RQ

Rijksmuseum Kroller-Miiller Matisse, The Dinner Table (Harmony in Red) Bonington, Rouenfrom theQuais

Nationale Park de Hoge Veluwe Mengs, Self-portrait Zoffany, Charles Towneley’s Library Hiroshige, Moonlight, Nagakubo

Houtkampweg 6 in Park Street Hokusai, Mount Fuji in Clear Weather

6731 AW Otterlo Spain

The Fitzwilliam Museum Courtauld Institute of Art Gallery

Redon, The Cyclops Museo de Bellas Artes Trumpington Street Somerset House
Plaza del Museo 2 Cambridge CB2 irb Strand

Museum Boymans-van Beuningen 48011 Bilbao London WC2R orn

Museumpark 18-20 Rosselli, The Virgin and Child Enthroned

301; CB Rotterdam Vasarely, Pal-Ket with Saints Modigliani, Female Nude

Dou, Maidservant at a Window Fundacion Coleccion National Museum of Wales Imperial War Museum

Kippenberger, The Happy End of Fran^ Thyssen-Bornemisza Cathays Park, Cardiff cf 1 3NP Lambeth Road

Kafka's Amerika ’ Paseo del Prado 8 London sei 6hz

Severini, Pierrot the Musician 28014 Madrid Wilson, View in Windsor Great Park
Lewis, A Battery Shelled

Constable, The Lock National Gallery of Scotland

Ghirlandaio, Portrait of Giovanna Tornabuoni The Mound
Schad, Portrait of Doctor Haustein Edinburgh EH2 2EL
 National Gallery Dumas, Jule— The Woman Sutherland, Portrait of Somerset Maugham Sheffield City Art Galleries
Trafalgar Square Rego, The Family Tanguy, The Invisibles The Graves Art Gallery
London WC2N 5DN Zhang Xiaogang, A Big Family Tapies, Grey Ochre Surrey Street
Tissot, Holiday (The Picnic) Sheffield si iXZ
Antonello da Messina, Saint Jerome Tate Turner, Snowstorm
in his Study Millbank Wadsworth, The Beached Margin Gilman, An Eating House
Avercamp,^4 Scene on the Ice Near a Town London swip 4RG Waterhouse, The Lady of Shalott
Beccafumi, Tanaquil, Wife of Lucomo Whisder, Symphony in White No. 2: Winchester Cathedral
Bron2ino, An Allegory with Venus and Cupid Tate Modern Little White Girl 9 The Close,
Campin, The Virgin and Child before Bankside Winchester S02 3 9LS

a Fire Screen London sei 9TG Victoria and Albert Museum

Canaletto, The Basin of San Marco on Cromwell Road Gormley, Sound II
Ascension Day (Items in the Tate collection are occa¬ South Kensington
Carracci, Christ Appearing to Saint Peter on sionally moved, please contact the gallery London SW7 2RL The Royal Collection
theAppian Way before visiting to see a specific work) The Royal Library
Chardin, The Young Schoolmistress J Bruegel, The Garden of Eden Windsor Casde
Cuyp, Peasants and Cattle by the River Merwede Albers, Homage to the Square Daumier, The Print Collectors Berkshire SL4 inj

Drouais, Madame de Pompadour at her Bellmer, The Spinning Top Hilliard, Young Man Among Roses
Tambour Frame P Blake, On the Balcony Le Gray, Brig on the Water Agasse, The Nubian Giraffe
Van Dyck, Charles I on Horseback W Blake, Pity Rossetti, The Day-dream
Van Eyck, The Arnolfini Portrait Bomberg, The Mud Bath Utamaro, Lovers York City Art Gallery
Gainsborough, Mr and Mrs Andrews Broodthaers, Casserole and Closed Mussels Exhibition Square
Guardi, An Architectural Caprice Burne-Jones, King Cophetua and the Wallace Collection Yorkyoi 2EW
Hals, Portrait of a Young Man with a Skull BeggarMaid Hertford House
Hogarth, The Tete a Tlte, from Marriage Caro, Early One Morning Manchester Square Snyders, A Game Stall
A la Mode De Chirico, The Uncertainty of the Poet London wim 6bm

Holbein, The Ambassadors Copley, The Death of Major Pierson USA

Honthorst, Christ Before the High Priest Dali, Lobster Telephone Fragonard, The Swing
Kalf, StillUfe with Lobster, Drinking Delvaux, Venus Asleep Van Ostade, Interior with Peasants Center for Creative Photography
Horn and Glasses Derain, The Pool of London Romney, Mrs Mary Robinson, Perdita’ 1030 N Olive Road
Lancret, A Lady in a Garden taking Coffee Dobson, Endymion Porter T Rousseau, The Forest of Tucson az 85721

with some Children Ernst, Forest and Dove Fontainebleau, Morning

Longhi, Exhibition of a Rhinoceros at Venice Francis, Around the Blues Steen, The ChristeningFeast Weston, Shells
590 Lotto, Portrait of a Woman inspired Gaudier-Brzeska, Red Stone Dancer
by Eucretia Gerder, The Merry-Go-Round Maidstone Museum and Art Gallery Baltimore Museum of Art
Mantegna, The Agony in the Garden Gorky, The Watefall Saint Faith’s Street Art Museum Drive
Metsu, The Music Lesson Hausmann, The Art Critic Maidstone me 14 ilh Baltimore md 21218
Patinir, Saint Jerome in a Rocky Landscape Hockney, A Bigger Splash
Pollaiuolo, Apollo and Daphne Hunt, The Awakening Conscience Pannini, Roman Capriccio Andre, Zinc Magnesium Plain
Rembrandt, Self-portrait at the Age of Jones, Man Woman
Sixty-Three Kandinsky, Cossacks Manchester City Art Gallery Indiana University Art
Rosa, Self-portrait Klein, 1KB 79 Corner of Mosley Street Museum
Rubens, The Judgement of Paris Leighton, The Bath of Psyche and Princess Street Bloomington in 4740;
Sassetta, Saint Francis of Assisi Renouncing Lipchitz, Half-standingFigure Manchester M2 jjl

his Earthly Father Louis, Alpha-Phi Duchamp, Fountain

Savery, Orpheus Martin, The Great Day of His Wrath Brown, Work
Uccello, The Battle of San Romano Millais, Ophelia Museum of Fine Arts
Wright of Derby, An Experiment on a Bird Miro, Women and Bird in the Moonlight Laing Art Gallery 465 Huntington Avenue
in the Air Pump Moore, Recumbent Figure Higham Place Boston ma 02115
Nash, Dead Sea Newcastie upon Tyne nei 8ag

National Portrait Gallery Nicholson, August 1956 (Vald’Orcia) Allston, Landscape with a Lake
2 Saint Martin’s Place Noland, Gift Landseer, Wild Cattle at Chillingham
London WC2H ohe Picasso, Weeping Woman Art Institute of Chicago
Rothko, Untitled The Lowry Michigan Avenue
Organ, Prince Charles Sargent, Carnation, Lily, Lily, Rose Pier 8 at Adams Street
Schwitters, Picture with Spatial Growths— Salford Quays M50 3AZ Chicago iL 60603
Saatchi Gallery Picture with Two Small Dogs
Duke of York’s HQ Sickert, Ennui Lowry, Comingfrom the Mill Hesse, Sequel
King’s Road Spencer, Saint Francis and the Birds Seurat, Sunday Afternoon on the Island
London swj 4RY Stubbs, Mares and Foals in a Landscape of the Grande Jatte
Wood, American Gothic Walker Art Center Rist, Ever is Over All Deacon, Fish Out of Water
1750 Hennepin Avenue Smith, Australia Newman, Covenant
Museum of Contemporary Minneapolis mn 55403 Steichen, The Pond - Moonlight Segal, Bus Riders
Art Chicago Steiglitz, The Flatiron Building
220 East Chicago Avenue Close, Big Self-portrait Stella, Kastura Library of Congress
Chicago il 60611 Still, Painting, 1944 Thomas Jefferson Building
Yale University Art Gallery Tuymans, Lumumba 10 First Street, SE
Piper, Cornered 1111 Chapel Street at York Street Warhol, Marilyn Washington DC 20; 40
New Haven ct 06; 20 Wool, Apocalypse Now
Cleveland Museum of Art Wyeth, Christina’s World Adams, View South from Mansyanar
11150 East Boulevard Powers, The Greek Slave to Alabama Hills
Cleveland oh 44106 Whitney Museum of American Art
Solomon R Guggenheim Museum 945 Madison Avenue National Gallery of Art
Church, Twilight in the Wilderness 1071 Fifth Avenue New York ny 10021 6th Street at Constitution
New York ny 10128 Avenue NW
Des Moines Art Center Johns, Three Flags Washington DC 20 5 6;
4700 Grand Avenue Becher, WaterTowers Neel, Andy Warhol
Des Moines ia 50312 Mondrian, Composition Castagno, The Young David
George Eastman House Chase, A Friendly Visit
Bacon, Study after Velasypuerfs Portrait of Hispanic Society of 900 East Avenue Corot, Ville d’Avray
Pope Innocent X America Museum Rochester ny 14607 Frankenthaler, Mountains and Sea
Broadway between 1; 5 and 15 6 Streets Homer, Breeding Up
Detroit Institute of Arts New York NY 10032 Atget, Saint-Cloud Hopper, Cape Cod Evening
5 200 Woodward Avenue Leyster, Self-portrait
Detroit, mi 48202 Goya, Portrait of the Duchess of Alba Pennsylvania Academy Whiteread, Ghost
of the Fine Arts
Feininger, SailingBoats Metropolitan Museum of Art 118 North Broad Street National Museum of American Art
Fifth Avenue at 82nd Street Philadelphia PA 19102 Eighth and G Streets NW
Wadsworth Atheneum New York ny 10028 Washington DC 20 5 60
600 Main Street West, William Penn’s Treaty with the Indians
Hartford ct 06103 Bierstadt, The Rocky Mountains Rauschenberg, Reservoir
Bingham, Fur Traders Descending Philadelphia Museum of Art
Cole, Scene from Cast of the Mohicans the Missouri 26th Street at Benjamin Phillips Collection
Zurbaran, The Martyrdom of StSerapion Evans, Kitchen Corner, Tenant Farmhouse, Franklin Parkway 1600 21 st Street NW
Dale County, Alabama Philadelphia PA 191 o 1 Washington DC 20009-1090

Hammer Museum Gauguin, la Orana Maria (HailMary)

10899 Wilshire Boulevard Gerome, Bashi-Baspuk Eakins, Between Rounds Bonnard, The Open Window
Los Angeles ca 90024 Giovanni di Paolo, The Creation and the Hicks, The Peaceable Kingdom Braque, The Round Table
Expulsion from Paradise Masolino, Saint Peter and Saint Paul Davis, Egg Beater No. 4
Walker, Slavery! Slavery!... Shore, US 97, South of Klamath Falls, H Rousseau, The Monkeys Dove, Me and the Moon
Oregon,July 21, tyjy Toulouse-Lautrec, Dance at the Marin, Maine Islands
Los Angeles County Museum of Art Stuart, George Washington Moulin Rouge
590; Wilshire Boulevard
Los Angeles CA 90036 Museum of Modern Art Carnegie Museum of Art
11 West 5 3rd Street 4400 Forbes Avenue
Magritte, The Treachery of Images New York ny 10019 Pittsburgh pa 15 213

Museum of Contemporary Art Arp, Leaves and Navels, 1 Catlin, AmbushforFlamingoes

2 5 o South Grand Avenue Balia, of the Swallows Kelley, Craft Morphology Flow Chart
Los Angeles CA 90012 Beckmann, Departure
Calder, Eobster Tra nd Fish Tail Corcoran Gallery of Art
Doig, too Years Ago Cartier-Bresson, Juvisy, France 500 17th Street NW
Celmins, Web #1 Washington DC 20006
Barnes Foundation Eggleston, Greenwood, Mississippi
300 North Latch’s Lane Gonzalez-Torres, Untitled (Perfect Lovers) Bellows, Forty-two Kids
Merion pa 19066 Lam, The Jungle
Marini, Horseman Hirshhorn Museum and Sculpture
Cezanne, Mont Sainte-Victoire Noguchi, Stone of Spiritual understanding Garden
Pollock, Number 1A, 1948 Independence Avenue at 7th Street SW
Ray, Family Romance Washington DC 20560
 Acknowledgements
Authors Gallery: 106; © Vija Celmins, courtesy McKee © Nolde-Stiftung Seebiill: 397; Index/ 162, 268, 571; ©The Estate of Alice Neel
Galley, NY, digital image © 2012 The Museum Bridgeman Art Library: 229,45 3; Indiana Courtesy David Zwirner, NY: 390; Anthony
Lee Beard, Adam Butler, Claire Van Cleave, of Modern Art, NY/Scala, Florence: 108; University Art Museum, Partial Gift of Mrs d’Offay, London: 37, 211, 260, 304,333, 389,
Diane Fortenberry and Susan Stirling Collection Center for Creative Photography William Conroy: 165; Courtesy Annelyjuda 425,448,472; © Gabriel Orozco, photograph
© 1981 Arizona Board of Regents: 562; Fine Art, London: 331,375,429,455; K&B courtesy Marian Goodman Gallery, NY: 402;
©John Chamberlain/ DACS, London 2012, News Foto, Florence/ Bridgeman Art Library: Courtesy of the Pace Gallery, NY/ photo¬
Design
photograph courtesy of the Pace Gallery, NY: 428; © Ilya Kabakov, Emilia Kabakov: 281; graph Ellen Page Wilson: 151, 280, 3 5 5; Peris
111; Christie’s, NY: no, 187,5 20; The © Alex Katz. All Rights Reserved, DACS, Galleries, NY: 23; © Grayson Perry, courtesy
The publishers wish to thank Javier Mariscal
Cleveland Museum of Art, Mr & Mrs William London 2012: 286; © On Kawara, courtesy the artist & Victoria Miro Gallery, London,
for his jacket design for this new edition
H Marlatt Fund: 117; © Chuck Close, the artist 288; © Kelley Studio Inc, photograph photograph by Stephen White: 412; © Adrian
photograph courtesy the Pace Gallery: 122; by Eric Baum: 289; © Ed Kienholz, courtesy Piper Research Archive Foundation Berlin:
Photographic Acknowledgements of L.A. Louver, Venice, CA, image Collection
Courtesy Paula Cooper Gallery, NY/ 419; Archives Serge Poliakoff, Paris: 424;
photograph © 1989 D James Dee: 16; Crane Stedelijk Museum, Amsterdam: 293; © Estate © Olafur Eliasson, photograph © Rex Features
All copyright works are © the artists Kalman Gallery Ltd, London: 262; © Salvador Martin Kippenberger. Galerie Gisela Capitain, / Tony Kyriacou: 172; Yseult Riopelle: 451;
Dali, Fundacio Gala-Salvador Dali, DACS, Cologne: 294; © Barbara Kruger, image © Pipilotti Rist, courtesy the artist, Hauser
© Marina Abramovic/DACS 2012, London 2012/ photograph Tate, London: 136; Courtesy Spriith Magers Berlin London: 307; & Wirth & Luhring Augustine, NY: 45 2;
photograph by Stephen P. Harris: 4; Courtesy © Thomas Demand/ DACS London 2012. © Yayoi Kusama. Courtesy of Victoria Miro Photograph © RMN, Paris: 346; The Royal
Ai Weiwei, Leister Foundation, Switzerland, Photograph courtesy Spriith Magers Berlin Gallery: 309; Latin American Masters, Beverly Collection © 1994 Her Majesty The Queen: 7;
Erlenmeyer Sdftung, Switzerland & Galerie London: 147; Patrick Derom Gallery, Brussels/ Hills, California: 362; Lauros-Giraudon/ © Ed Ruscha, photograph courtesy Spriith
Urs Meile, Beijing-Lucerne: 8; AKG-images: photo Vincent Everarts: 509; © Peter Doig. Bridgeman Art Library: 24,384,432; Magers Berlin London: 470; © 2012 August
543; Courtesy Salvatore Ala Gallery, NY: 368; Courtesy of Victoria Miro Gallery: 155; Photograph © Carol Marc Lavrillier: 72; Sander Archiv / DACS, London 2012: 475;
Courtesy Francis Alys: 14; Courtesy © Marlene Dumas, photograph courtesy Zeno Margo Leavin Gallery, Los Angeles/ photo © 2012. Photograph Scala, Florence: 58, 365;
Nobuyoshi Araki: 22; Art Gallery of Ontario, X Gallery: 167; Courtesy of the Eggleston Douglas M Parker: 290; Library of Congress, © 2012. Photo Scala, Florence - Courtesy of
Toronto. Purchase, 1967 (Acc.N0.66/ 19): Artistic Trust, digital image © 2012 The Prints & Photographs Division, lc-dig-ppprs- the Ministero Beni e Att. Culturali: 17;
399; ©John Baldessari, photograph courtesy Museum of Modern Art, NY/Scala, Florence: 00279: 6; Lisson Gallery, London: 13 3,142, Courtesy Richard Serra/ photo Dirk Reinartz:
Spriith Magers Berlin London: 31;© Desmond 171; Courtesy Fischer Fine Art, London: 7 5; 285,323, 347;© ChristianMarclay,image 488; © Stephen Shore, photograph courtesy
Banks. Photograph courtesy National Galleries © Robert Frank, from ‘The Americans’. courtesy White Cube, London & Paula Cooper of the artist: 493; © Estate of David Smith/
of Scotland: 393; © Matthew Barney, Collection of the artist, Courtesy Pace/ Gallery, NY: 351;© Brice Marden/ DACS, DACS, London 2012: 502; © Estate of Robert
photograph courtesy Gladstone Gallery, NY & MacGill Gallery, NY: 191; © The Lucian Freud London 2012: 3 5 2; © Estate of Gordon Matta Smithson/ DACS, London 2012: 503; ©
Brussels, photograph Michael James O’Brien: Archive, photograph © Christie’s Images/ Clark, DACS, London 2012: 363; Courtesy Sotheby’s Inc., NY: 244,343,445; Sotheby’s,
35;© Bernd & Hilla Becher, Courtesy The Bridgeman Art Library: 193; Gimpel Fils, Matthew Marks Gallery/digital image © 2012 London: 242; Allan Stone Gallery, NY: 177,
Sonnabend Gallery, NY: 45; Courtesy Galerie London: 250,527; Giraudon/ Bridgeman Art The Museum of Modern Art, NY/ Scala, 300, 525;© Thomas Struth, photograph
Bruno Bischofberger, Zurich: 121; Courtesy Library: 64, 70,71,95,112, 123,137,139, 140, Florence: 439; Marlborough Fine Art (London) courtesy of the artist 516; Photograph by
592
Marc Blondeau: 183; Galleria Blu, Milan: 186; 144, 145,163,196, 207, 230, 248, 310, 326, 327, Ltd: 28,150, 296, 302,441,484; © Succession Mirek Switalski: 498; Tate, London, Tate
© Alighiero Boerti/ DACS, London 2012: 60; 371, 381,404,430,433,496, 507, 533, 539, 540; H Matisse/ DACS, London 2012: 361; The Images: 370,476; © Luc Tuymans, photograph
© Estate of Georges Braque/ DACS, London Marian Goodman Gallery, NY/ photo Michael Mayor Gallery, London: 5 60; Courtesy McKee courtesy Zeno X Gallery: 535; Bill Viola
2012. Photograph courtesy of the Phillips Goodman: 61; © The Felix Gonzalez-Torres Gallery, NY: 239; ©Julie Mehretu, image Studio LLC/ photograph by Eduardo
Collection, Washington DC: 77; Bridgeman Foundation / digital image © 2012 The courtesy Marian Goodman Gallery, NY: 364; Calderon: 548; Waddington Galleries Ltd: 127,
Art Library: 12,13,19, 21, 27, 32, 33, 39,42,44, Museum of Modern Art, NY / Scala, Florence: © 2012 Image copyright the Metropolitan 241,482, 573;© Kara Walker, courtesy of
47, 5 L 59> 66, 74, 82, 83, 93,98, 99,104. 114, 221 © Anthony Gormley, photograph by Louis Museum of Art/ Art Resource/ Scala, Sikkema Jenkins & Co, NY/ Photograph by
115,116,119, 129,134,138,152,156,157,158, Bustamante: 223; © Dan Graham, image Florence: 201, 205, 216; The Metropolitan Joshua White: 553; ©Jeff Wall, photograph
159, 160, 164, 169,170, 173, 182,188, 189, 198, Courtesy Marian Goodman Gallery: 228; Museum of Art, the Horace W. Goldsmith courtesy of the artist: 5 54; © 2012 Rachel
199, 200, 202, 203, 206, 213, 214, 215, 217, 218, Courtesy Greengrassi, London, photograph Foundation Gift, through Joyce and Robert Whiteread. Gift of The Glenstone
226,232,233,237,247,272,274,276.277,279, by Marcus Leith: 5; Galerie Karsten Greve, Menschel, 1988 (1988.1030), photograph Foundation, photograph courtesy of the
284, 287, 292, 301, 303, 308,316,318,319, 325, Cologne / photograph by Georges Poncet: 73; © 2012. The Metropolitan Museum of Art/ National Gallery of Art, Washington: 565;
3^9.335.336.337,338.34°. 341,344.349.35°. ©Andreas Gursky/ DACS, London 2012: 238; Art Resource/Scala, Florence: 179; Courtesy © Christopher Wool, photograph courtesy
353, 366, 374, 379, 382, 383,387, 395,400,403, © The Estate of Eva Hesse. Courtesy Hauser Robert Miller Gallery, NY: 3 8; © Ministere de of the artist & Luhring Augustine, NY: 5 70;
406, 407, 408, 414, 417, 418, 421, 438, 447, 459, & Wirth. Photocredit: Susan Einstein: 2 5 2; la Culture/ Mediatheque du Patrimoine, Yale University Art Gallery, New Haven,
460, 461,462, 464, 465,466, 468, 469, 471, 473, Photo Credit: Michael Heizer. © Triple Aught Dist RMN-GP/ Andre Kertesz: 291; © 2012 Olive Louise Dann Fund: 431; © 2012. White
480,485,486,490, 494, 497, 500, 504, 517, 518, Foundation 2010: 249; Hirschl & Adler The Museum of Modern Art, NY/Scala, Images/Scala, Florence: 449; Courtesy
526,528,529,536,541,544,545,547.5 5°. 564. Galleries Inc., NY: 491; Hirshhorn Museum Florence: 512,513; The Museum of Modern of Zhang Huan Studio: 574; © 2012 Zhang
569,576,577, 578, 579; Galeriejeanne Bucher, & Sculpture Garden, Smithsonian Institution, Art, NY, acquired through the Mr and Mrs Xiaogang. Photograph Courtesy the Pace
Paris: 510,546; © Daniel Buren/ Corbis: 85; Gift of Joseph H Hirshhorn, 1966/ photo Victor Ganz, Mr and Mrs Donald H Peters Gallery: 575
© Claude Cahun/ Jersey Heritage Collections: Lee Stalsworth: 487; © Damien Hirst & and Mr and Mrs Charles Zadok Funds: 514;
89; © Sophie Calle/ DACS, London 2012, Science Ltd. All rights reserved/ DACS, Museum of Modern Art, NY, gift of the artist:
photograph courtesy Paula Cooper Gallery, London 2012: 256; © Estate of Hannah Hoch 394; Museum of Modern Art, NY, gift of
NY: 92; © Anthony Caro/ Barford Sculptures / DACS, London 2012: 2 5 8; © David Hockney, Mr David Whitney: 5 5 6; Museum of Modern
Ltd/ photograph Tate, London: 97; © Henri photograph Tate, London: 259; © 1977-9 Art, NY, Inter-American Fund: 310; Museum
Cartier-Bresson/ Magnum Photos: 101; Jenny Holzer/ DACS, London 2012: 266; of Modern Art, NY, purchase: 2 5,427,572;
Leo Castelli Gallery, NY / photo © 1989 © Estate of Edward Hopper: 270; Courtesy Museum of Modern Art, NY, The Sidney and
Dorothy Zeidman: 185;© Maurizio Cattelan, Leonard Hutton Galleries, NY: 220,481; Harriet Janis Collection: 515 © 2012 The
photograph courtesy Marian Goodman Courtesy Leonard Hutton Galleries, NY / National Gallery, London/ Scala, Florence:
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