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'Meadow Stream.' (c1916) Elioth Gruner was one of Australia's most popular and sucessful painters of the inter-war years who explored the power of painting contre-jour, directly into the sunlight; this is a typically modest image but one with remarkable vision.

'Chadding in Mount's Bay,' was Stanhope Forbes' principal contribution to the Royal Academy summer exhibition in 1902. One of the enduring qualities of his work throughout a 70-year career is the faithful recording of Cornwall and Cornish life.

In the early part of the 20thC, the Swiss artist Hans Emmenegger began making recurrent themes of enigmatic, dark forest interiors, exploring the optical effects of light and colour. This work was painted in 1933.

Corot's France is a melancholically beautiful place, wan and silvery. He was anything but an avant-garde artist, though he championed Gustave Courbet and was himself celebrated by the poet Charles Baudelaire. This work 'Les maisons Cabassud à Ville d'Avray,' dates from 1840.

Andre Derain's portrait (1923) is of Léopold Zborowski, a fixture in left bank avant-garde circles of Paris from around 1913 - he is commonly credited with the 'discovery' Chaim Soutine and popularised the work of Amedeo Modigliani.

'La Varenne, banks of the Marne, fishermen in boats.' (1913) Albert Marquet's serial exploration of views (he painted the Marne numerous times) echoed the Impressionists' interest in capturing the river under a variety of conditions.

All of the artistic devices evident in 'Summer, Montclair,' (1887) work together to fully reveal George Inness' complete synthesis of nature; the contrasting areas of light, shadow and tone induce the spiritual response he strove to achieve in the last decade of his career.

Joaquin Sorolla's paintings from the 1890s were revolutionary in their photographic sense of composition and realism. He found in children a source of unbridled creative expression, most famously when represented on the beach of his native Valencia.

'Bridge of Sighs.' (1909) By the time of this painting, Jane Peterson was one of the foremost painters in New York. Her art education included studying in Madrid with Joaquin Sorolla who had a significant influence on her work, particularly in portraying water.

'Baigneuse assise à Cassis.' (1913) Henri Charles Manguin was a central figure in the Fauvist movement; particularly noted for capturing the vivid colours of the French riviera and the joie de vivre of its nude bathers. He was called 'the voluptuous painter,' by Apollinaire.

Samuel Peploe summed up his dedication to still-life in an interview in 1929: ‘there is so much in mere objects, flowers, leaves, jugs, what not, colours, forms, relationships, I can never see the mystery coming to an end.' This work was painted around 1912.

Fred Leist composed this work one morning at 2am in 1942 overlooking the sea in Cornwall. He captures a moment when the world seems to be simplifying itself into light and shadow, losing substance and becoming dreamlike.

'Morning Light,' (1916) is considered by many to be Elioth Gruner's masterpiece of his wartime pastorals. Enveloping light, technical brilliance, and pictorial perfection are the hallmarks of the best of his work.

'Still Life with Geranium.' (1913) For Samuel Peploe, the execution of the perfect still life was an obsession that dominated his career, an aesthetic and intellectual exercise; this painting was significantly influenced by Paul Cézanne's work.

In 1919, when Tempe Manning was experimenting with colour palettes in figure and model studies, she also turned her attention to the developing modern city skyline as a subject for her art. She painted several views of Kingsclere in Sydney.

Still lifes, even before they begin to be painted have been deliberately assembled: objects which the painter finds intriguing or touching have been arranged as compositions on the table or shelf and so it is here with Eliot Hodgkin's 'Nine Strawberries,' from 1955.

'The Beach, Biarritz.' (1909) Few artists in the modern era exemplify as well as Joaquín Sorolla an ability to paint en plein air and to work quickly in order to capture the effect of light on sun, sand, figures and fabrics.

'Green and silver, The Bright Sea, Dieppe,' (1883) demonstrates Whistler's watercolour technique of simplicity and economy which he used to capture the transient nature of light and weather; a vital contribution to Impressionism.

In 'Along the Shore,' (1914) Edward Southall has chosen to depict the elegance of a female only family outing to the seaside, in this case Southwold on the Suffolk coast. Each of the figures is beautifully studied, typical of Southall's refined draughtsmanship.

'Cows on the Meadow' (1905) most likely depicts 'Landzicht' farm situated along the river Gein near the town of Abcoude in the Netherlands, it was an area Piet Mondriaan painted repeatedly during his early naturalistic period; the trees give the painting a feeling of symmetry.