Six paintings — sunset warship, steam locomotive, slave-ship, dawn vapour, Carthage harbour, basalt cave — that show Turner inventing how the modern eye sees weather.

Ten paintings that show how John Constable invented modern landscape from a stretch of English river, a stand of oaks, and a sky that wouldn't sit still.

William-Adolphe Bouguereau was twenty-five when he painted Canto XXX of the Inferno — Schicchi biting Capocchio, a winged demon hovering above. The 1850 canvas is the outlier of his career and a fixed image in dark academia. Reading the painting, the canto, and where it belongs on the wall.

A man in a dark green coat stands on a rocky outcrop with his back to the viewer. Below him, valleys are filled with white mist. Above him, jagged Saxon mountains break through the fog. He is alone. His face cannot be seen. The painting is 95 by 75 centimetres — small for the genre — and was painted in 1818, when Caspar David Friedrich was forty-four years old and not yet famous. Wanderer above the Sea of Fog is the most reproduced painting of German Romanticism and the found

Two Witches' Sabbath paintings, twenty-five years apart. How Francisco Goya used the supernatural to attack the very institutions that fed it.