|The Collapse Of Genius||20010421||Robert Mcnab asks why some artists have such a brilliant start to their careers, only to lose their touch and be condemned to repeating themselves for decades.|
|01||Paint Rage||20010310||Robert McNab discovers a surprising link between George Grosz and Otto Dix, painters who both explored the theme of sexual violence, and the celebrated American abstract impressionist Jackson Pollock. Contributors include Roger Law, Robert Crumb, Aline Kominsky and John Virtue.|
|02||First Sight||20010317||Robert McNab looks at the artist adventurers of the colonial era, asking what it might have been like to be the first European to paint or draw a kangaroo or a duck-billed platypus.|
One of their number was William Daniell, the first artist to make a pictorial record of the Outer Hebrides, in the 1820s.
|03||The Big Picture||20010324||Robert McNab looks at huge-scale artworks created for public spaces, taking in some big pictures in Wurtzburg in Germany and in Castle Howard in North YORKshire. Contributors include Christopher Ridgeway, John Virtue, Sam Taylor Wood and Hilary Vernon Smith.|
|04||The Great Indoors||20010331||Robert McNab tells the story of artists who paint again and again the studio in which they work, such as Danish artist Vilhelm Hammershoi, who painted more than 60 pictures of his Copenhagen apartment in the first decade of the last century. McNab visits Hammershoi's flat and tries to determine what these introverted artists are telling us about themselves.|
|05||Walt And Adolf||20010407||Robert McNab travels to Rothenburg in Germany to explore the hypothesis that, if Hitler's artistic career had been more successful, he could have ended up working for Walt Disney as an illustrator, like many of his European contemporaries.|