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All the paintings present us with images of one sort or another: paintings made directly from life and invented scenes; the direct, the contrived and the imagined.
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Or how in painting with one medium you're Michelangelo but with another your paintings are as bad as your baby sister's?
MONTCLAIR "Circle Meditations II: Another Place," paintings and works on paper by Giovanna Cecchetti.
In another gallery paintings and frescoes from the 12th to 16th centuries have been faithfully reproduced.
It unfolds in just two galleries — one for drawings and prints and another for paintings — that blend into the permanent collection.
Over the decades, Mr. Hockney has worked in depth on various series, shifting from one medium to another — from paintings to Polaroids, theatrical stage sets to intimate line drawings, watercolors to digital images on iPads — as he shuttled between the United States and England.
One room is devoted to the 17th-century engravings of Scottish views by the draughtsman John Slezer, another displays paintings and photographs of Scots in full tartan dress and a third has work by George Jamesone, Scotland's first painter of note, who set up a successful portrait studio in Edinburgh early in the 17th century.
One area is devoted to city paintings, another to portraits and nudes and another to landscapes and still lifes.
So, too, in another wing, the paintings of the German artist Peter Dreher.
In another series of paintings, rectangles arranged on plain backgrounds mimic the look of blacked-out text.
One notebook page holds maladroit copies of old master paintings; another has doodlelike forms that Pollock transcribed from dreams.
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