The Nightmare (1781)
by Henry Fuseli (Switzerland, 1741-1825)

"The Nightmare" is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with an apelike demonic creature crouched on her chest. The painting's dreamlike and haunting evocation of infatuation and obsession was a huge popular success. For contemporary viewers, "The Nightmare" invoked the relationship of the creature and the horse (mare) to nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone.

The etymology of the word "nightmare" does not relate to horses. Rather, the word is derived from mara, a Scandinavian mythological term referring to a spirit sent to torment or suffocate sleepers. The early meaning of "nightmare" included the sleeper's experience of weight on the chest combined with sleep paralysis, dyspnea, or a feeling of dread. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilizes the painting's conceit and contributes to its Gothic tone.

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Dante and Virgil in Hell (1850)
by William-Adolphe Bouguereau
French, 1825–1905

William-Adolphe Bouguereau was a French academic painter known for his realistic genre paintings and modern interpretations of classical subjects, particularly emphasizing the female body. 

“Dante and Virgil in Hell” is a compelling work which draws inspiration from Dante Alighieri’s “The Divine Comedy,” specifically the “Inferno” section, where Dante, guided by the Roman poet Virgil, traverses the circles of Hell. In this particular scene, Bouguereau captures the moment in the eighth circle, designated for the sin of Fraud. Here, Dante and Virgil witness a violent struggle between two damned souls: Capocchio, an alchemist and heretic, and Gianni Schicchi, who infamously impersonated Buoso Donati to fraudulently claim his inheritance.

Bouguereau’s portrayal is vivid and dramatic, emphasizing the physicality and intensity of the combatants. The artist’s mastery of realism is evident in the precise brush strokes and the meticulous rendering of muscles, nerves, and tendons, which bring the scene to life with a sense of terribilita and horror. This work diverges from Bouguereau’s typical focus on serene and idealized female figures, showcasing his versatility and ability to explore darker themes with the same technical prowess.

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Storm (1925)
by Zdzisław Jasiński
Polish, 1863-1932

Zdzisław Jasiński, was a Polish painter known for his works in the Academic style and later Impressionistic style. Jasiński’s work often captures the dynamic and dramatic elements of nature, and "Storm" is no exception. 

"Storm" features a vivid and evocative depiction of a summer thunderstorm.  It features dark thunderclouds that are metaphorically shaped like stampeding black horses, which dominate the sky above a flat green landscape. This imagery of horses is powerful, as it captures the energy, power, and unpredictability of a thunderstorm, paralleling the thundering sound of hooves with the rumbling of thunder.

The use of such dynamic and dramatic symbolism is characteristic of Jasiński’s ability to convey the intensity and movement of natural phenomena through his art. The painting likely employs a palette of dark, ominous colors to represent the storm clouds, contrasted with the serene green of the landscape, highlighting the stark impact of the storm on the environment.

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The White Owl (1856)
by William James Webbe
English (1830-1904)

The White Owl is a captivating piece that exemplifies the artist's meticulous attention to detail and his importance within the Pre-Raphaelite movement. Painted in 1856, the artwork features a solitary white owl resting on its perch within a belfry, a setting that evokes a sense of solitude and contemplation. The owls feathers are rendered with exquisite detail, showcasing Webbe's skill in capturing the texture and softness that is characteristic of an owl's plumage.  

The painting's title, accompanied by the quote "alone and warming his five wits, the white owl in his belfry sits" further emphasizes the owl's isolation and introspective mood. The artwork stands out not only for its technical prowess but also for its ability to convey a deeper narrative through the simple yet profound subject of a white owl in quietude.

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"Trio of Women Dancing" (1918)
Photograph from Dancing with Helen Moller

One of a series of 43 plates depicting classical dance from the book Dancing with Helen Moller which is described as, "a statement of her philosophy, practice, and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of today."

This image is captioned, "The Classic Ideal—and Ours world! Not even Michelangelo could grasp it. His vision is of man burdened and disquieted, oppressed by mysteries which he cannot penetrate, writhing in conflict with forces too great for his control. In the sculptures of the Greeks, on the other hand, man is calm and untroubled—and the gods, we must remember, are but man exalted and made immortal."

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Stormy Sea at Lighthouse [Stormigt hav vid fyr] (1858)
by Marcus Larson (Sweden, 1825-1864)

Simeon Marcus Larson was a Swedish landscape painter from Åtvidaberg, Östergötland. He has been recognized as "one of Sweden's foremost 19th-century painters" and labeled as "the most outstanding of the Swedish Düsseldorf painters." His paintings were known for being dramatic and primarily depicted rivers under violent skies as well as shipwrecks in storms.

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The Lady of Shalott (1888)
Painting by John William Waterhouse (English, 1849-1917)

The Lady of Shalott is a poem by Alfred Tennyson, written 50 years before Waterhouse painted this picture. The Lady of Shalott is cursed and forced to stay in a tower. She is only allowed to look at the world through a reflection in the mirror. One day, she sees a knight, Sir Lancelot, and falls in love with him. She ignores the curse and leaves the tower to find him, which results in her death. Lady of Shalott’s story can be read as a warning about female desire. Victorian society had strict rules and expectations for women that defined ‘acceptable’ behavior.

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Circe (1888)
by Louis Chalon (French, 1866-1940)

Louis Chalon was a French artist who began his career as an illustrator and was known for his classically inspired paintings, illustrations for books, and decorative objects. Chalon’s works often featured mythological and allegorical subjects.

His painting “Circe” stands as a testament to his skill in capturing the allure and mystique of mythological figures. Chalon’s depiction is noted for its exotic elements, combining various cultural motifs to create a setting that reflects Circe’s otherworldly nature. The painting frames Circe with a radiant sun behind her, alluding to her divine parentage as the daughter of the sun god Helios.

The legend of Circe is rich and complex. She is known as a minor goddess or enchantress in Greek mythology, often associated with magic and transformation. Circe’s most famous myth involves her encounter with Odysseus in Homer’s “Odyssey,” where she turns his men into pigs with a potion. Odysseus, protected by an herb from Hermes, confronts and overcomes Circe, who then helps him on his journey home.

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Medusa (1900)
by Wilhelm Kotarbiński (a.k.a. Vasily Alexandrovich Kotarbiński)
Polish, 1849-1921 

Wilhelm Kotarbiński was a Polish symbolist painter who spent most of his life in the Russian Empire. He was educated in Italy and moved to Kyiv early in his career. He is associated with the Art Nouveau movement. 

The painting “Medusa” is a captivating work that delves into the rich tapestry of Greek mythology. Medusa, one of the three Gorgon sisters, was often depicted as a monstrous figure with snakes for hair, whose gaze could turn onlookers to stone. 

Symbolist artists aimed to capture the essence of subjects through metaphor and emotion, often exploring themes of love, fear, and the subconscious. In the case of Medusa, the artwork might explore the duality of her nature—both monstrous and wronged, a victim and a villain. The painting could emphasize the tragic elements of Medusa’s story, highlighting her transformation from a beautiful maiden to a creature of horror, which is a common theme in interpretations of her myth.

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Kriemhild (1924)
Promotional photo of Margarete Schön
by Universum Film (UFA) 

“Die Nibelungen: Kriemhild’s Revenge” is a silent film directed by Fritz Lang, released in 1924. It is the second part of Lang’s two-part series, the first being “Die Nibelungen: Siegfried.” It is considered one of the greatest artistic and technical achievements of the German silent cinema era. Lang’s adaptation of the epic poem “The Song of the Nibelungs” was a monumental task that showcased the capabilities of early cinema.

In the film “Die Nibelungen: Kriemhild’s Revenge,” Kriemhild’s character is portrayed by Margarete Schön as a figure of remorseless and implacable determination, seeking revenge for the murder of her husband, Siegfried. Her costume design plays a significant role in conveying this transformation from a grieving widow to a vengeful queen.

The costume obscures much of her, leaving her face, and particularly her eyes, to express the depth of Kriemhild’s emotions. This design choice emphasizes her intense gaze, which conveys her inner turmoil and unyielding resolve. The costume likely includes elements that are both regal and somber, reflecting her royal status and her dark purpose.

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Crow on a Cloudy Day
by Unknown 

A striking photograph of a soaring crow against a stormy sky. 

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Kraft und List [Power and Cunning], (1880)
Josef Arpád Koppay (Hungary, 1859-1927)

Baron József Árpád Koppay von Drétoma was an Austro-Hungarian portrait painter. This work, Kraft und List depicts a lion (strength) with a chain around its neck. Leaning against it is a dark-eyed, winged woman (cunning). Presumably she holds the other end of the lion's chain. Interestingly, this drawing is a variation of one of his earlier works, The Strong and the Weak. In the original painting, there was no cemetery, and the woman did not have wings. 

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"La Vie De L'Abeille" [The Life of the Bee] 

This beautiful antique French educational poster depicts the life cycle of the honeybee. 

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The Truth Lies in Old Books (1910)
by Marian Wawrzeniecki
Polish, 1863-1943

Marian Wawrzeniecki was a Polish archaeologist, ethnographer, painter, draughtsman, and art historian from Warsaw, Poland. Wawrzeniecki’s paintings are known for their evocative imagery and often feature mystical and allegorical subjects.

The painting The Truth Lies in Old Books is a striking work that depicts a woman’s fleshy body with a skull for a head, collapsed upon an open book and gripping a bloody root. The painting’s title suggests a commentary on the search for knowledge and truth through literature and the written word, with the visual elements adding a layer of depth to this interpretation. It reflects the symbolism movement, which often explored themes of life, death, and the human condition through allegorical and sometimes macabre imagery.

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1927 Solar Eclipse Photograph (1927)
by Sir Frank Dyson, Royal Astronomer
Royal Observatory, Greenwich, UK

June 1927 saw Britain in the grip of eclipse fever. A total eclipse of the sun, the first to be visible in Britain for more than 200 years, was predicted for 29 June. The path of totality ran across North Wales and Central England, from Criccieth in North Wales to Hartlepool on the east coast. 

This photograph, taken by Royal Astronomer Sir Frank Dyson of the eclipse, is an excellent example of early astronomy photography and makes a great minimalist wall art piece.

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The Comparative Osteology (1821-1838)
from Die vergleichende Osteologie [The Comparative Osteology]
collected by Christian Heinrich Pander & illustrated by Eduard d'Alton

Eduard d'Alton was a professor of art history at the Prussian Academy of Arts at the University of Bonn. Christian Heinrich Pander was a Baltic German biologist who lived in Latvia and was a member of the Saint Petersburg Academy of Sciences, where he was most well known for his groundbreaking studies of trilobites. Their collaboration resulted in Die vergleichende Osteologie [The Comparative Osteology], an extraordinary illustrated guide to animal bones. 

The diverse range of animals includes everything from large fauna such as elephants, rhinos, and hippopotamuses, to more familiar creatures such as porcupines and red squirrels. The collection even includes a depiction of the extinct giant ground sloth. 

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The Unicorn is in Captivity and No Longer Dead (1495-1505)
Woven in South Netherlands by unknown artisans

The Unicorn Tapestries, particularly “The Unicorn is in Captivity and No Longer Dead,” are rich in symbolism and steeped in historical context. Created in the South Netherlands around 1495–1505, these tapestries are thought to have been designed in Paris and depict a hunt for the unicorn through an idyllic French landscape.

Historically, the tapestries reflect the late medieval era’s fascination with allegorical and narrative art. The “millefleurs” background style, featuring a variety of small botanical elements, was popular during this period and is prominently featured in the tapestries. The enclosed garden, or “Hortus conclusus,” where the hunt takes place, is not only a representation of a secular, physical garden but also connects with the Annunciation.

The tapestries have sparked scholarly debate regarding their meaning, with some suggesting they were commissioned to celebrate a marriage, as medieval poets often linked the taming of the unicorn to themes of love and devotion, enriching the tapestries’ narrative with layers of both secular and religious significance.

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Geraint and Enid Ride Away (1868)
by Gustave Doré (French, 1832-1883)

This picture illustrates the lines from Tennyson's "Enid" idyll (later "Geraint and Enid")

Mounted, and reached a hand, and on his foot
She set her own and climbed; he turned his face
And kissed her climbing, and she cast her arms
About him, and at once they rode away.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

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Boreas (1903)
by John William Waterhouse (England, 1849-1917)

“Boreas” by John William Waterhouse is a captivating oil on canvas painting that was created in 1903. It is named after the Greek god of the north wind and features a young girl being swept by a strong wind, her draperies in slate and blue hues billowing around her. The painting is set against a spring landscape, adorned with pink blossoms and yellow daffodils, which adds to the theme of femininity and nature that is prevalent in Waterhouse’s work.

Waterhouse’s use of symbolism is evident in “Boreas”. The swirling clouds in the background represent the chaos and unpredictability of the winds, while the girl’s poised yet dynamic stance suggests resilience in the face of nature’s forces.

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Plate XV from British Butterflies, Figures and Descriptions of Every Native Species
by William Stephen Coleman (1897)

This beautiful illustration from the rare Victorian book British Butterflies depicts six common butterfly species native to England: Scarce Swallow-tail, Apollo, Arran Brown, Weaver's Fritillary, Purple-edged Copper, and Tailed-Blue. William Stephen Coleman (1829-1904) was an English painter and illustrator.  

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The Four Horsemen, from The Apocalypse (1498)
Engraving by Albrecht Dürer (German, 1471-1528)

In 1498 Dürer published a book illustrating the Revelation of John or the Apocalypse of John, the last book of the New Testament. The images were unique in their large scale, breadth of concept, and unity of design. The first book to be both published and illustrated by the artist, it comprised a title page and 15 full-sheet woodcuts featuring text on the verso of all the sheets except the last one. Often visible through the paper, the text mars the image on the recto of the sheet. The finest impressions were most often printed without text, like this one of The Four Horsemen. Here, Dürer suggested the vigorous momentum of the horsemen through the windblown clothing of the riders, the windswept clouds, and the figures trampled beneath the hooves of the approaching horses.

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The Witch (Night Piece) (1626)
by Jan van de Velde (Dutch, 1620-1662)

Step into a world of dark enchantment with "The Witch (Night Piece)" Matte Poster. This mesmerizing piece captures a nocturnal scene where a sorceress concocts her evil brew amidst a company of bizarre beasts. She stands within a "magic circle" etched into the ground—a supernaturally consecrated space for witchcraft.

The sorceress overturns a horn into her cauldron, which is engulfed in billowing flames. Mixing with the powder are two streams of ash that spew forth from pipes held by a somersaulting demon on the left. The swirling, decorative composition and the variety of grotesque creatures, making both knowing and silly faces at the viewer, add elements of whimsy and farce to this ostensibly serious, occult subject.

Perfect for those who appreciate the mysterious and the macabre, this matte poster is an evocative addition to any art collection. Its intricate details and supernatural elements make it a standout piece that invites closer inspection and admiration.

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Witches Going to their Sabbath (1878) 
by Luis Ricardo Falero (Spanish, 1851-1896)

Witches Going to their Sabbath by Luis Ricardo Falero, painted in 1878, is a captivating work that delves into the fantastical and the supernatural. The painting depicts a group of witches flying through a stormy night sky, heading to their secret Sabbath gathering. The central figure, a witch, gazes directly at the viewer, drawing them into the scene with a mix of allure and menace. Falero’s meticulous detail and focus on the human form, particularly the female form, are evident in this work, with his use of light and shadow creating a dramatic, almost theatrical effect.

Falero incorporates traditional symbols associated with witchcraft and the occult, such as the witches in mid-air and a goat, often linked to the devil. The painting reflects the 19th-century fascination with the occult, presenting a vision that is both alluring and unsettling. It can be seen as a commentary on the fears and fantasies surrounding witchcraft, with its subversive undertones and depiction of powerful, transgressive women challenging conventional norms. This analysis highlights the complexity and richness of Falero’s work, inviting viewers to explore its layers of meaning.

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The Souls of Acheron (1898)
by Adolf Hirémy-Hirschl
Hungarian, 1860-1933

Adolf Hirémy-Hirschl was a Hungarian artist renowned for his historical and mythological paintings, particularly those related to ancient Rome. His work “The Souls of Acheron,” painted in 1898, is a vivid portrayal of the Greek mythological concept of the afterlife.

In this painting, Hirémy-Hirschl depicts the god Hermes, identifiable by his winged hat and dark blue robes, as he leads the recently deceased to the lower world. The scene is set on the banks of the River Acheron, known in mythology as the river of woe, one of the five rivers of the Greek underworld. The dead are shown pleading with Hermes to allow them to return to the upper world, but he ignores their cries as he strides through the bodies to meet Charon at the shore, who will ferry these souls across the river into the underworld.

Hirémy-Hirschl’s painting captures the essence of this mythology with a dramatic composition that emphasizes the contrast between the divine figure of Hermes and the despairing souls. The use of light and shadow, along with the somber color palette, evokes the emotional weight of the scene and reflects the artist’s skill in conveying narrative through visual art.

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Tamara and the Demon (1889)
by Konstantin Makovsky
Russian, 1839-1915 

Konstantin Makovsky was an influential Russian painter, affiliated with the “Peredvizhniki” or “Wanderers.” He was known for his historical paintings that often presented an idealized view of Russian life in previous centuries. 

“Tamara and the Demon” is a captivating painting that delves into the themes of virtue and evil, drawing inspiration from Mikhail Lermontov’s poem “Demon”, which tells a story of a fallen angel who wanders the earth filled with bitterness and loneliness. Set in the Caucasus Mountains, the Demon encounters Tamara, a beautiful Georgian princess, and becomes infatuated with her. The Demon indirectly causes the death of Tamara’s betrothed and he eventually reveals himself to her. Tamara is drawn to him and succumbs to his embrace, which proves fatal. In the end, Tamara’s soul ascends to heaven, while the Demon is left alone once again, despairing and without hope. The poem is a complex exploration of themes such as the nature of evil, redemption, and the possibility of love and compassion for even the most damned beings.

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Scops Owl in Flight, Cherry Blossoms and Full Moon (1926)
by Ohara Koson
Japanese, 1877-1945 

Ohara Koson, also known as Ohara Shōson and Ohara Hōson, was a Japanese painter and printmaker, particularly renowned for his kachō-e (bird-and-flower) woodblock prints. Koson’s work was part of the shin-hanga (“new prints”) movement, which revitalized traditional ukiyo-e art by integrating Western elements. He produced a prolific number of prints, many of which were exported to the United States, contributing to his international acclaim.

“Scops Owl in Flight, Cherry Blossoms and Full Moon,” created in 1926, is a quintessential example of Koson’s mastery in capturing the beauty of nature. The woodblock print features a scops owl in mid-flight against a backdrop of cherry blossoms and a full moon, encapsulating the transient beauty of spring and the serene elegance of the nocturnal bird. The owl’s detailed feathers and the delicate petals of the cherry blossoms are set against the muted colors of the night sky, creating a harmonious and dynamic composition. This work reflects the Japanese appreciation of nature’s fleeting moments, a theme often explored in Koson’s art.

The print is celebrated for its fine detail and the interplay of light and shadow, showcasing Koson’s skill in the traditional Japanese woodblock printing technique. “Scops Owl in Flight, Cherry Blossoms and Full Moon” remains a beloved piece for its poetic depiction of nature and its embodiment of the shin-hanga style.

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Woman at a Mirror (c. 1850)
by Johann Mongels Culverhouse
Dutch, 1820-1895

Johann Mongels Culverhouse was a Dutch artist known for his “candlelight paintings,” which were nocturnal scenes illuminated by moonlight or candlelight, reflecting the tradition of 17th-century Dutch painting. He is also recognized for his genre subjects, including taverns, markets, and streets, which he continued to paint after moving to the United States around 1849.

“Woman at a Mirror” is a work that draws on the Dutch tradition of genre painting. Culverhouse’s painting captures the spirit of ordinary life, focusing on a woman looking at herself in the mirror. This scene is likely to emphasize themes of vanity, beauty, or self-reflection, common in genre paintings of the time.

The painting’s style, with its attention to the effects of light and shadow, as well as the detailed rendering of textures and materials, showcases Culverhouse’s skill and his adherence to the techniques and themes of his Dutch predecessors. “Woman at a Mirror” stands as a testament to Culverhouse’s ability to blend traditional Dutch artistry with his own unique perspective, creating works that appealed to both European and American audiences of his time.

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Der Hass [Hatred] (1896)
by Pietro Pajetta
Italian, 1845-1911

Pietro Pajetta) was an Italian painter known for his genre art, which often depicted rustic and everyday scenes with a focus on the human condition. His works are characterized by an exuberance of feeling and a keen observation of life’s various facets.

“Der Hass” (Hatred), painted in 1896, is one of Pajetta’s more evocative works. It takes inspiration from Lorenzo Stecchetti’s “Canto dell’Odio” (Song of Hate), a poem that narrates the story of a rejected suitor who seeks revenge on the corpse of his beloved. The painting is a dark and powerful representation of hatred and vengeance, capturing the intensity of the suitor’s emotions as he enacts his revenge.

The artwork is notable for its dramatic composition and the raw emotion it conveys. Pajetta’s use of dark, muted colors and stark contrasts creates a haunting atmosphere that reflects the theme of the poem. The painting’s subject matter and its execution make it a compelling study of the darker aspects of human emotions and the lengths to which they can drive a person.

Pajetta’s life was marked by his service in the Italian army during the War of Italian Independence and his subsequent struggles with economic instability. Despite these challenges, he managed to create art that resonated with the public and earned him recognition at various exhibitions. “Der Hass” stands as a testament to his artistic talent and his ability to translate complex emotions into compelling visual narratives.

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