Turner's sunrise does not illuminate the scene so much as consume it. Polyphemus is barely a giant at all - just a smoky mass folded into the cliff. Joseph Mallord William Turner, 1829, painting weather as myth. #Turner#Romanticism
Three deer at the water's edge, dwarfed by churning cloud and light-struck peaks. Albert Bierstadt paints the American West of 1870 as pure revelation - and it is his handling of atmosphere, not the grandeur, that holds you. #Bierstadt#Landscape
Jean-Baptiste-Camille Corot, born this day in 1796, painted light as though it were something you could breathe. His silvered trees and hushed rivers bridged the classical past and the Impressionists who revered him. #Corot#Landscape
Late Renoir: the bather's flesh lit from within, rose and cream feathered against dissolving greens and blues. Nothing drawn, everything caressed into being. Pierre-Auguste Renoir, c.1903-06. #Renoir#Impressionism
Rembrandt van Rijn gives Cupid a soap bubble in 1634 - the old vanitas symbol of life's brief shimmer, held in a child's wary hand. Warm firelit flesh against cool grey wings and deep shadow. Beauty and mortality in one breath. #Rembrandt#Baroque
A dancer caught mid-step, green skirt swinging, painted on bare cardboard whose warm brown becomes a woman's coat. Henri de Toulouse-Lautrec needed only a few nervous strokes to make the Moulin Rouge come alive. #ToulouseLautrec#PostImpressionism
The rider hangs upside down against the white horse, a pink diagonal cutting through the ring while the crowd dissolves into red and green. Ernst Ludwig Kirchner, 1913 - all speed and nerve, nothing at rest. #Kirchner#Expressionism
More than half of Fragonard's The Pond is sky - great storm clouds bright at their edges, with the land and its small figures kept in deep green shadow below. A quieter, more naturalistic side of the painter. #Fragonard#Landscape
Look at the hands. One girl rests her chin on a curled finger, lost in thought; the other leans in close. Renoir in a quieter, sober register - dark dresses anchoring the picture, warmth only in the flush of the cheeks. #Renoir#Impressionism
Claude Lorrain leads the eye past dark trees, along still water, to mountains lost in haze. The merchants are small; the true subject is light falling on the river at the golden hour. Painted around 1630. #Lorrain#Baroque
Two children turn towards one another, the infant Baptist reaching up to the Christ Child, while the Madonna watches with downcast eyes. Adolphe-William Bouguereau, 1863 - skin painted so smoothly the brush all but vanishes. #Bouguereau#Academicism
Gold pours from her hand as Minerva watches over her shoulder. Rubens fills every inch of this allegory of the regency - fortune above, discord bound below - yet the eye keeps returning to that bright cascade of paint at its heart. #Rubens#Baroque
The sails do the work here - russet and ochre planes crowding the light while the harbour below dissolves into cool reflection. Edgar Alwin Payne reduced Chioggia to mass and rhythm, the paint left thick and visible. #Payne#Impressionism
Hubert Robert paints ruins not as decay but as theatre. A vast coffered arch frames a distant aqueduct and obelisk, while small figures rest among the broken stone - dwarfed, and alive. Light on old masonry, 1775. #HubertRobert#Neoclassicism
Two white dogs in the snow, dissolving into the same cold light as the ground. Franz Marc builds their fur from blue, green and yellow - feeling, not fact. Even before colour became his whole language, his sympathy for animals is everywhere. #Marc#Expressionism
A grey plaster torso, headless and calm, holds its ground against a wall of restless blue pattern and a small burst of pink and yellow flowers. Henri Matisse, 1919 - a painting about the quiet pleasure of arranging objects. #Matisse#Modernism