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During the first 15 years of his career, Escher found his optical thrills in the real world, which he depicted from extreme angles or in uncanny reflections.
He was drawn there by the presence of Monet, but also had a feeling for the Normandy countryside, which he depicted from various vantage points.
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When Commodore Perry finally appears, he is depicted from the Japanese point of view as a masked and monstrous colossus whose mad eyes beam white light at us.
Passing from master to master, he depicted life from underneath.
And he depicted himself from youth to old age in some of the most mordant self-portraits ever conceived.
With a paintbrush wedged between frozen fingers, he depicted vignettes from the American Revolution and the Civil, Franco-Prussian and Spanish-American Wars.
Though most of his dancers are anonymous, the costumes and scenery he painted have been identified in the Paris Opera repertory down to minute details, and we know the names of several of those he depicted, ranging from the old ballet teacher Jules Perrot to the student who Degas in 1881 immortalized in sculpture as "The Little 14-Year-Old Dancer," Marie van Goethem.
He depicted the senator emerging from a sewer, an idea he also used on Richard M. Nixon.
The first he depicted as functionaries who from a state of animal fear tap out the given, the appropriate, the predictable, and the accepted.
From 1915 to 1918 Spencer served in World War I, an experience that inspired works such as the mural The Resurrection of the Soldiers (1928 29), in which he depicted dead soldiers emerging from their tombs into a cross-strewn landscape.
During a visit to Italy in 1863, Alma-Tadema became interested in Greek and Roman antiquity and Egyptian archaeology, and afterward he depicted imagery almost exclusively from those sources.
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CEO of Professional Science Editing for Scientists @ prosciediting.com