Carl Hindmarch - Simon Schama's Power of Art (2006)

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BBC sez: bbc.co.uk/arts/powerofart/

The power of the greatest art is the power to shake us into revelation and rip us from our default mode of seeing. After an encounter with that force, we don't look at a face, a colour, a sky, a body, in quite the same way again. We get fitted with new sight: in-sight. Visions of beauty or a rush of intense pleasure are part of that process, but so too may be shock, pain, desire, pity, even revulsion. That kind of art seems to have rewired our senses. We apprehend the world differently.

Art that aims that high – whether by the hand of Caravaggio, Van Gogh or Picasso – was not made without trouble and strife. Of course there has been plenty of great art created in serenity, but the popular idea that some masterpieces were made under acute stress with the artist struggling for the integrity of the conception and its realisation is not a "romantic myth" at all. A glance at how some of the most transforming works got made by human hands is an encounter with "moments of commotion".

It's those hot spots in which great risks were taken that The Power of Art brings you. Instead of trying to reproduce the un-reproducible feeling you have when you are face to face with those works in the hush of the gallery or a church, the series (and the book) drops you instead into those difficult places and unforgiving dramas when the artists managed, against the odds, to astound. "Every artist thinks he's Rembrandt", Picasso once joked, but there would come a time when he thought so himself!

All the artists in our series – and some of the contemporary artists on our website who have joined in its spirit to reflect on them – have felt part of this craft of exhilarating trouble. I hope, when you watch the programmes, you too get to feel the heat.

Caravaggio

"In Caravaggio's time it was believed that artists were given their talent by God to bring beauty to the world and to put mortal creatures in touch with their higher selves or souls. Caravaggio never did anything the way it was supposed to be done."

Bernini

"A century after the creation of The Ecstacy of St Theresa, a French art lover doing the Tour of Rome entered the Church of S. Maria della Vittoria in Rome, peered at the spectacle and said: "Well, if that's divine love, I know all about it".

Rembrandt

"Claudius Civilis is a painting drunk on its own wildness. It is a painting that would not just be the ruin of Rembrandt's comeback, but also the ruin of his greatest vision. Or so I think, for I can't be sure. None of us can, because we don't know what the big picture looked like. What we're looking at here is a fragment, a fifth of the original size, the bit rescued from Rembrandt's knife. This may just be the most heartbreaking fragment in the entire history of painting."

David

"If there's ever a picture that would make you want to die for a cause, it is Jacque-Louis David's Death of Marat. That's what makes it so dangerous - hidden away from view for so many years.

I'm not sure how I feel about this painting, except deeply conflicted. You can't doubt that it's a solid gold masterpiece, but that's to separate it from the appalling moment of its creation, the French Revolution. This is Jean-Paul Marat, the most paranoid of the Revolution's fanatics, exhaling his very last breath. He's been assassinated in his bath. But for David, Marat isn't a monster, he's a saint. This is martyrdom, David's manifesto of revolutionary virtue."

Turner

In 1840 in London, an international convention of the Great and Good was planned to express righteous indignation against slavery in the United States. Turner, initiated into the cause many years before by his patron, Walter Fawkes, wanted to have his say in paint. So how does he do it? By being a thorn in the side of self congratulation.

He reaches back 60 years to resurrect one of the most shameful episodes in the history of the British Empire when 132 Africans - men, women and children, their hands and feet fettered - were thrown overboard into the shark infested waters of the Caribbean. And Turner has drowned you in this moment, pulled you into this terrifying chasm in the ocean, drenched you in this bloody light - exactly the hue you sense in your blood filled optic nerves when you close your eyes in blinding sunlight.

Van Gogh

Just for once, everything was going right for Vincent Van Gogh. He'd just sold his first painting and he'd been hailed by the critics as the genius of the future.

He was painting like a demon, a picture a day. One of them, this one, Wheatfield With Crows, was a revolutionary masterpiece. It's the painting which begins modern art. Yet within a few weeks the man who had achieved it had killed himself. Now why would you want to do that?

Picasso

Picasso once described the creative process as a kind of complete emptying. He'd put so much of everything he had to offer in the world into Guernica, during those few feverish months in 1937, that afterwards there was not much left in the creative tank.

He had thirty years of work ahead: the longest, saddest, anti-climax in the history of art.

Rothko

One morning in the spring of 1970, I went into the Tate Gallery and took a wrong, right turn and there they were, lying in wait. No it wasn't love at first site. Rothko had insisted that the lighting be kept almost pretentiously low. It was like going into the cinema, expectation in the dimness.

Something in there was throbbing steadily, pulsing like the inside of a body part, all crimson and purple. I felt I was being pulled through those black lines to some mysterious place in the universe.