The concept of paintings, and especially easel paintings, providing us a window on the world goes back, at least to the early Renaissance.

This notion coincides with the development of linear and aerial perspective, both products of the Italian quattrocento.

These elements enhance our sense of reality in art. The fact that easel paintings are usually framed, also supports the concept of paintings as a window.

In the modern period French artist Henri Matisse frequently made use of the window theme, as did his compatriot, Robert Delaunay.

Another artist who also considered the window in art was Paul Klee. Just 10 years ago, our very own Bermuda National Gallery hosted an exhibition of Azorian art entitled, 'A Window on the Azores'.

The decision of the Bermuda Arts Centre's management committee to devote their current theme show to that of the window is not only a good choice, it comes with an illustrious history. It is possibly one of their more successful shows in that many of the participants actually used the window in some form as the main subject in their art. The exhibition consists of 48 pieces by 18 artists.

Although some elected to deal with topics other than the window, most did stick to the theme. Unlike the early Renaissance artists who saw their paintings as comparable to looking through windows, some in this show actually painted a representation of a window.

Joe Smith, in one of his drawings, depicted several windows of varying period styles.

It is entitled 'Windows Various'. One amusing oil painting by Heidi Cowen takes the theme a step further in that she shows not only a window from the outside but someone looking through the window. Its title is 'Peeping Tom's'.

Alan Noyes, in one of his watercolours, depicts a view through a window as well as the window mullions dissolved by the brightness of the light that streams into the room.

Jennifer Brooks also has a piece that looks through a window. Her drawing was created by means of brush and ink.

Kathy Harriott is showing a number of windows but with emphasis on the shutters. Her technique is unusual, but nonetheless effective, in that she has recycled and cut up some of her older monoprints. Each of the louvres, as well as the shutter frame [is a] little cutout that is then pasted together.

Angela Gentleman's more abstract paintings seem to suggest old wall, often with dark windows imbedded. This creates a sense of mystery.

Emma Ingham-Dounouk's also makes use of old wall with windows.

Her four small watercolours depict various windows around St. George's, all in the vicinity of her Featherbed Alley studio. Molly Godet's watercolour called 'Cold December, Orange Grove, Smith's', is also about old walls with windows, but in this case, she depicts multiple windows on the west wall of this venerable house above Flatt's.

While not obviously about windows Kok Wan Lee's colourful abstract acrylics are nevertheless inspired by looking through open windows. Wynne Colley's poetic acrylics are more surreal than abstract, meaning that she employs visual elements from the real world, but out of their usual contexts. This includes her use of the window, but in this instance, sans wall.

Unlike many recent exhibitions this one is showing only one photograph. This is a titillating depiction of a nude as seen through a window by Lori Goodwin.

Michelle Lindo makes use of the etching technique to express her concept of the inside-outside aspect of windows.

The exhibition continues through September 25.