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To mark the fact that this was a time when both music and the visual arts were going through changes in structure, the music of Stravinsky’s Rite of Spring, 19137 can be heard as the text appears on the screen. The main menu is based on a flow chart (available in other areas of the CD-ROM) which has been adapted to a graphical navigational field. 8 The information is divided into three main categories, ‘Language of Colour’, ‘Historical Background’ and ‘Theoretical Background’, and although these are interrelated, distinction is established between ways of approaching the paintings themselves.

Given that the interreferential possibilities are vast, it is therefore easy for teachers to select the relevant themes and follow them throughout the different subsections. Only those themes that were also relevant elsewhere in the presentation were selected, highlighting one or two of the most central points. This opens the possibility for the users – either teacher or pupil – to use their imaginations to draw up further conclusions. Thus, the focus here is on a distinguishing feature of Klee’s theory of colour, his emphasis on the analogy between music and colour.

The final era of the presentation represents another focus point, culminating in a comparative analysis of two paintings from different eras, Eros by Paul Klee, which has been analysed elsewhere in the CD-ROM, and Horizon Light by Barnett Newman (1949, Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska-Lincoln). They would appear to represent a set of very similar issues, Animating Art History 31 Links with other sections, such as the previously mentioned ‘Movement – Tracing the Artist’ are reinforced and activities illustrate the similarities.