Cornelius Norbertus Gijsbrechts (c.1610 – after 1675), Trompe l’oeil. The Reverse of a Framed Painting, 1670
Mary Heilmann (1940-), Little 9×9, 1973, acrylic on canvas, 55 x 55 x 4.5 cm, Ursula Hauser Collection.
Clara Peeters, Still Life with Flowers and Goblets, 1612, 59,5 x 49 cm, Staatliche Kunsthalle, Karlsruhe.
Peter Doig, Canoe Lake, 1997, oil on canvas, 200 x 300 cm, Saatchi Gallery.
Edward Hopper (1882-1967), Sun in an Empty Room, 1963, oil on canvas, 73 x 100cm, Private Collection.
Robert Ryman, Guild, 1982, enamelac paint on fibreglass, aluminium and wood, 98.2 x 91.8 x 2.8 cm, Tate.
Lydia Dona, Photo Ghosts and the Labyrinth Drips on the Void, 1996, oil, acrylic, and sign paint on canvas, 213.4 x 162.6 cm.
Painting has often been declared dead since the 1960s, yet it refuses to die. Even the status and continued legitimacy of the medium has been repeatedly placed in question. So why does it continue to make a splash?