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| Girolamo Marchesi (Girolamo da Cotignola) View of a City ca. 1520 oil on panel Palazzo dei Diamanti, Ferrara |
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| attributed to Pier Francesco Foschi Judgment of Solomon ca. 1525-50 oil on panel Galleria Borghese, Rome |
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| Frei Carlos de Lisboa Risen Christ appears to his Mother 1529 oil on panel Museu Nacional de Arte Antiga, Lisbon |
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| Giuliano Bugiadini The Story of Tobit 1536 oil on panel Gemäldegalerie, Berlin |
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| Jacopo Tintoretto St Mark's Body brought to Venice ca. 1562-66 oil on canvas Gallerie dell' Accademia, Venice |
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| Hans Vredeman de Vries St Paul, Trajan, and the Widow before 1635 oil on panel Hunterian Art Gallery, University of Glasgow |
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| Pieter Saenredam Interior of the Janskerk at Utrecht ca. 1650 oil on panel Museum Boijmans Van Beuningen, Rotterdam |
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| Samuel van Hoogstraten View through a House 1662 oil on canvas National Trust, Dyrham Park, Gloucestershire |
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| Andrea Pozzo and workshop The Last Supper in a Palatial Setting ca. 1708 oil on canvas Palazzo Pretorio, Trento |
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| Gian Paolo Panini Interior of St Peter's Basilica, Rome ca. 1735 oil on canvas Museo del Settecento Veneziano, Ca' Rezzonico, Venice |
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| Gabriele Bella Orphan Choir performing for a Noble Audience ca. 1779-92 oil on canvas Pinacoteca Querini Stampalia, Venice |
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| Francesco Guardi Pope Pius VI descending the Throne to take leave of the Doge in the Hall of SS. Giovanni e Paolo, Venice 1782 oil on canvas Cleveland Museum of Art, Ohio |
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| Giovanni Muzzioli Roman Boys playing a Ball Game with Toy Soldiers ca. 1885-90 oil on canvas private collection |
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| Georg Achen Interior 1901 oil on canvas Musée d'Orsay, Paris |
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| Francis Cook Interior of Augres Studio 1976 oil on board Sir Francis Cook Gallery, Trinity, Jersey |
"Works of art are often sites where the issues or questions a community or culture finds urgent, fundamental, or troublesome are elaborated and negotiated. In part, this is a matter of what Nelson Goodman calls the, "cognitive efficacy" of visual representations: through representing or symbolizing selected elements of "the world," experience is made susceptible to ordering and rearrangement; the world can be more completely grasped, ordered, and illuminated. Visual representation is, consequently, a vehicle for the increase of knowledge, both scientific and nonscientific. But knowledge is ideological: what passes for knowledge at any given moment is radically conditioned by a complex of regnant interests, values, utilities. What may seem at first a pure discovery, an objective truth emergent in visual representation – linear perspective is a good example – is later revealed as a culturally specific, ideologically engaged, contingent construction."
– Michael Leja, from Reframing Abstract Expressionism (Yale University Press, 1993)