Andreas VESALIUS (one of the fathers of anatomy): De humani corporis fabrica (1955). This was published when Vesalius was only 29 years old.

Zdzislaw BEKSINSKI: The surreal and fantastic art from Polish master Zdzislaw Beksinski shows an intense Goya like power and the glorious palette of Turner, Beksinski creates worlds and characters that are at once beautiful and hauntingly mysterious.

H.R. GIGER: Known to most as the guy who designed the aliens for the film Aliens, Giger is an extraordinary surrealist artist responsible for spawning a generation of artists. Having delved into industrial design, traditional media and sculpture. Giger's most famous medium is the airbrush on studio walls. The following shows his trademark airbrushed biomechanical art.

Here is an example if what Giger does when you give him Swiss watches and bike parts.

Edouard Manet: Bar at Foiles-Bergere 1881-2, oil on canvas. Just look at the angst in her eyes, "What is going through her head?"

Marc CHAGALL: Marc La femme et les roses (The Woman and the Roses) 1929, note the amazing use of colour.

Marc CHAGALL: The Juggler 1943.

Salvador DALI: The Persistence of Memory 1931, what fan of surrealist art could forget Dali.

Andy WARHOL: Warhol is one of the exceptions to the rule. To understand his art one needs to understand him. Warhol's art is more about him than anything.

He began as a commercial illustrator, and a very successful one, doing jobs like shoe ads. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell's Soup Cans, 1961-62. From then on, most of Warhol's best work was done over a span of about six years, finishing in 1968, when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn't have to. He felt it and embodied it. He was a conduit for a sort of collective American state of mind in which celebrity - the famous image of a person, the famous brand name - had completely replaced both sacredness and solidity.

Andy Warhol, Campbell's Soup Can 1964

Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and colour form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol's thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown. They are much more deadpan than the object which may have partly inspired them. This affectlessness, this fascinated and yet indifferent take on the object, became the key to Warhol's work; it is there in the repetition of stars' faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanising touch of the hand but the pervasiveness of routine error and of entropy..."

Andy WARHOL, Five Deaths 1963.