From around 1882 until his death in 1906, Paul Cézanne painted Mont Sainte-Victoire — a limestone ridge twenty kilometres east of his house in Aix-en-Provence — more than sixty times in oil and another forty in watercolour. The hundred-image obsession is the most concentrated motif-study in nineteenth-century European painting and the visible record of how Cézanne worked his way, picture by picture, into the language that the entire twentieth century would inherit.

French country is olive light, lavender fields, sun-cracked stone walls, and the warm ochres of southern France. Eight paintings that hold the register — Cézanne, Van Gogh, Renoir, Monet — and the room palette that lets them sing.

Once Impressionism had taught everyone to see colour as light, the next generation asked what painting could do that photography could not. A reader's guide to Post-Impressionism — Van Gogh, Cézanne, Gauguin, Seurat.

The kitchen wall has to survive steam, splatter, oblique light, and the rotation of dishes laid out below it. Six paintings that hold up — Dutch still life, Cézanne's apples, classical fruit, botanical Haeckel.