Historian Dr David Starkey examines how royal portraiture from Henry VIII to Princess Diana has had an enduring influence on the iconic power of personality.
Dr Gus Casely-Hayford shows how our sense of identity was changed forever by the most distinctively British artist this country has ever produced: William Hogarth. Until the 18th century, the only vision of Britishness that was available in our art was for and about the toffs. But in the 18th century a revolution occurred: a revolution in ink and paint rather than blood. For the very first time, it was possible to look at our art and see people who are identifiably 'us'. It's all thanks to Hogarth.
Writer Howard Jacobson celebrates the way British artists depict sex and desire, and argues that the most compelling expression is to be found where we might least expect it: in the art of the Victorians.
At a time when Britain's contemporary art world has been dominated by the 'Sensation' generation of Damien Hirst and Tracey Emin, it's easy to dismiss English landscape art as nothing more than tea towel culture. That would be a big mistake, argues Sir Roy Strong. Far from being a succession of chocolate box cliches, the genius of English landscape art is that it affords a sometimes shocking and subversive insight into the country's deepest fears. What we see at first glance can be deceptive. Take that great national icon: Constable's The Haywain. On the surface it's an image of an idyllic pastoral scene but in its time it was revolutionary. Visitors to the Royal Academy in 1821 were horrified that Constable should exhibit a piece of local landscape on a scale usually reserved for subjects from the Bible or national history. It was painted during a period when England was engaged in bloody war against France, there was turbulence in the countryside and industrial revolution in the cities. All the most significant developments in English landscape art have happened at times of great national crisis - the Napoleonic Wars, the First and Second World Wars - when Britain was cut off from the continent and our artists were compelled to look inwards. Sir Roy argues that, from Constable to Hockney, landscape artists have reflected visions of England on the cusp of change. It is nothing less than this country's greatest contribution to western art.
Modern Art has made us who we are and it has certainly made Janet Street Porter who she is. Beginning in the stifling 1950s, Janet revisits her teenage years to show how modern art has been at the forefront of social and cultural changes, which define Britain today, from Patrick Heron through Francis Bacon, David Hockney, Peter Blake, Joe Tilson, Richard Hamilton, Gilbert and George, and the Sex Pistols, to Damien Hirst and the 'Sensation' generation of British artists. Janet speaks to Hirst, Tracey Emin and Grayson Perry about how art has seeped into the very heart of British culture.
Former war reporter Jon Snow presents a timely reminder of how British artists have expressed and defined our response to the horror of war and, in the process, have triggered a debate about the role of art in British life. As the grandson of a First World War general, it's a story with a personal resonance for Jon. A hundred years ago, artists were the first to challenge the view that war was all about victory and glory. Jon, a keen amateur artist himself, traces this legacy from the artists of the First World War - Richard Nevinson, Paul Nash, Stanley Spencer - right up to the work of contemporary artists such as John Keane, Jeremy Deller and Steve McQueen. Britain's war artists have pushed the boundaries in their drive to bring home to us the true cost of war. We once celebrated war's valour and glory, but they have encouraged us to feel its pain and tragedy. They have given us an artistic legacy that will continue to provoke and to move generations to come.
