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Introduction : Painting and experience in the twentieth century (Henri Matisse, The dance, 1909-10) : Modernism as liberty
Peopling the void: episodes from an alternative history
1. After Cubism: reinventing the language of representation (Pablo Picasso, Seated man, 1914, and Fernand Léger, The campers, 1954) : Chagall's Half past three (The poet) (1911)
Matisse's View of Notre Dame (1914)
Léger, Rousseau and the 'return to "great subjects'" (1918-54)
Classicism after Futurism: Carrà and Sironi (1921-22)
Towards the Chagall of Dead souls (1920-25)
Muralism part 1: Rivera's return to Mexico (1921-24)
Muralism part 2: Benode Behari Mukherjee's The lives of the medieval Indian saints (1946-47)
Marsden Hartley's 'Late courage' (1938-40)
Francis Bacon's Three studies for a crucifixion (1962)
Paula Rego: The barn (1994)
2. After Expressionism: 'The New Thingness' (Emil Nolde, Excited people, 1913, and Max Beckmann, The night, 1918-1919) : Not the how but the what: Otto Dix and the Neue Sachlichkeit generation (1917-32)
'A new sort of realism': the war and its aftermath in English painting: Stanley Spencer, Paul Nash, William Roberts, Edward Burra (1914-37)
Early Balthus: a puppet master (1933-56)
Edward Hopper's Nighthawks (1942)
The libertarian line: Alice Neel and the modern portrait (1933-80)
Lucian Freud's Interior at Paddington (1951)
3. First-person painting (Edouard Vuillard, Married life, 1900, and Pierre Bonnard, Dining room in the country, 1913) : Paula Modersohn-Becker: not 'that's me' but 'this is' (1900-7)
Kirchner's 'hieroglyphic' street scenes (1913-14)
Pierre Bonnard: a new space for the self (1924-46)
Soutine and instability (1919-22)
Frida Kahlo: What the water gave me (1934-38)
Stanley Spencer: the sacred self and the Church of me (1937-59)
Charlotte Salomon's Life? Or theatre? (1940-42)
Max Beckmann: epics of self-art in Amsterdam (1937-46)
Edvard Munch: Between clock and bed (1940-43)
4. Beyond the formalist canon: visionaries, dreamers, outsiders (James Ensor, Tribulations of St. Anthony, 1887, and Ken Kiff, Talking with a psychoanalyst, 1973-1979) : Alfred Kubin's Other side (1900-1930)
Image against the word: Rabindranath Tagore as a painter (1928-40)
Jack Yeats: towards 'The half-dreaming state' (1932-55)
Henry Darger and The realms of the unreal (1937-73)
Jacob Lawrence: The migration of the Negro (1940-41)
Ken Kiff and The sequence (1971-90)
5. After Abstract Expressionism: towards a new history painting (Willem de Kooning, Woman I, 1950-52, and Philip Guston, Painting, smoking, eating, 1973 : R. B. Kitaj: avatar of Ezra (1960-76)
David Hockney's The second marriage (1963)
Alex Katz: the early cut-outs and their milieu (1959-62)
Red Grooms and the sculpto-pictorama (1962-76)
Georg Baselitz: Big night down the drain (1962-63)
Philip Guston's renewal-by-drawing (1965-67)
'To bring back the lost reality of the world': Bhupen Khakhar and Indian experience (1975-87)
Anselm Kiefer: Operation sea lion (1975-84)
Ida Applebroog's Polyptychs (1986-89)
William Kentridge's Felix narratives (1989-2003)
Neo Rauch and Leipzig figuration (1999-2005)
Leon Golub's final paintings (1999-2002)
Epilogue : Continuous narratives (Howard Hodgkin, Two portraits of Terence McInerney, 1981)
Peopling the void: episodes from an alternative history
1. After Cubism: reinventing the language of representation (Pablo Picasso, Seated man, 1914, and Fernand Léger, The campers, 1954) : Chagall's Half past three (The poet) (1911)
Matisse's View of Notre Dame (1914)
Léger, Rousseau and the 'return to "great subjects'" (1918-54)
Classicism after Futurism: Carrà and Sironi (1921-22)
Towards the Chagall of Dead souls (1920-25)
Muralism part 1: Rivera's return to Mexico (1921-24)
Muralism part 2: Benode Behari Mukherjee's The lives of the medieval Indian saints (1946-47)
Marsden Hartley's 'Late courage' (1938-40)
Francis Bacon's Three studies for a crucifixion (1962)
Paula Rego: The barn (1994)
2. After Expressionism: 'The New Thingness' (Emil Nolde, Excited people, 1913, and Max Beckmann, The night, 1918-1919) : Not the how but the what: Otto Dix and the Neue Sachlichkeit generation (1917-32)
'A new sort of realism': the war and its aftermath in English painting: Stanley Spencer, Paul Nash, William Roberts, Edward Burra (1914-37)
Early Balthus: a puppet master (1933-56)
Edward Hopper's Nighthawks (1942)
The libertarian line: Alice Neel and the modern portrait (1933-80)
Lucian Freud's Interior at Paddington (1951)
3. First-person painting (Edouard Vuillard, Married life, 1900, and Pierre Bonnard, Dining room in the country, 1913) : Paula Modersohn-Becker: not 'that's me' but 'this is' (1900-7)
Kirchner's 'hieroglyphic' street scenes (1913-14)
Pierre Bonnard: a new space for the self (1924-46)
Soutine and instability (1919-22)
Frida Kahlo: What the water gave me (1934-38)
Stanley Spencer: the sacred self and the Church of me (1937-59)
Charlotte Salomon's Life? Or theatre? (1940-42)
Max Beckmann: epics of self-art in Amsterdam (1937-46)
Edvard Munch: Between clock and bed (1940-43)
4. Beyond the formalist canon: visionaries, dreamers, outsiders (James Ensor, Tribulations of St. Anthony, 1887, and Ken Kiff, Talking with a psychoanalyst, 1973-1979) : Alfred Kubin's Other side (1900-1930)
Image against the word: Rabindranath Tagore as a painter (1928-40)
Jack Yeats: towards 'The half-dreaming state' (1932-55)
Henry Darger and The realms of the unreal (1937-73)
Jacob Lawrence: The migration of the Negro (1940-41)
Ken Kiff and The sequence (1971-90)
5. After Abstract Expressionism: towards a new history painting (Willem de Kooning, Woman I, 1950-52, and Philip Guston, Painting, smoking, eating, 1973 : R. B. Kitaj: avatar of Ezra (1960-76)
David Hockney's The second marriage (1963)
Alex Katz: the early cut-outs and their milieu (1959-62)
Red Grooms and the sculpto-pictorama (1962-76)
Georg Baselitz: Big night down the drain (1962-63)
Philip Guston's renewal-by-drawing (1965-67)
'To bring back the lost reality of the world': Bhupen Khakhar and Indian experience (1975-87)
Anselm Kiefer: Operation sea lion (1975-84)
Ida Applebroog's Polyptychs (1986-89)
William Kentridge's Felix narratives (1989-2003)
Neo Rauch and Leipzig figuration (1999-2005)
Leon Golub's final paintings (1999-2002)
Epilogue : Continuous narratives (Howard Hodgkin, Two portraits of Terence McInerney, 1981)