Lilith (1889)
by John Collier (England, 1850-1934)

The apparent sweetness of this work by John Collier, a Pre-Raphaelite painter, is a wonderful testimony of the two sides of Lilith’s figure. Juggling between the images of sensuality, beauty, and that of a cold murderess, Collier is one of the artists that has transformed her image. From the Assyrio-Babylonian goddess, later known as the first woman in Jewish mythology, Lilith slowly turns into a powerful icon.

The contrasting colors of the painting, and its warm palette, further enhance the atmosphere that emerges from the work. This use of the colors, in Lilith as well as in Collier’s other portraits, earned him a certain recognition from his contemporaries. Seen as solemn, his work, however, offers an obvious mastery of tones and light.

Eventually, the figure of Lilith evolves gradually from the dangerous demoness depicted by the religious writings to a symbol of sensuality, but also of feminism. By her aspect of being equal to Adam, from whom she does not depend, the succubus becomes a feminist icon, a perfect opposition to Eve’s figure. Many powerful, sometimes feared, historical and mythological female figures are associated with snakes. These include Cleopatra and Medusa, whose association with snakes makes them desired, sensual, or monstrous.

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Skeletons, also known as Allegory of Death and Fame (1518)
by Agostino Veneziano (Italian, 1490-1540)

Although for centuries scholars have attempted to understand the allegorical meaning of this print, 16th-century artist and author Giorgio Vasari described it simply as “an anatomy of desiccated nudes and of bones of the dead.” A central figure of winged Death stands over an interred skeleton, surrounded by a variety of skeletal and living human figures who appear to debate the fate of the soul. At far left is a “marasmic” man, a type of sun-dried body used by anatomists to study the muscles without removing the skin. Rosso Fiorentino, who designed the composition of this print to be engraved by Agostino Veneziano, was a Florentine contemporary of Michelangelo who planned a book on anatomy that was never published.

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Bellona Leading the Armies of the Emperor against the Turks (1600)
by Jan Muller (Dutch, 1571-1628)

The central, striding figure, Bellona (the Roman goddess of war), is said to be either the sister or the wife of Mars, god of war. The double-headed eagle of the Hapsburgs appears on the flag behind her. Born in Amsterdam, Jan Muller probably learned engraving from his father, Harman Muller, a printmaker and publisher. He traveled to Italy in the 1590s and presumably stopped in Prague along the way. There he made prints based on designs by artists employed at the Hapsburg court, including Bartholomeaus Spranger (1546–1611).

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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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"Tubulariae" [Hydra] (1904)
plate 6 from Kunstformen der Natur by Ernst Haeckel

Ernst Haeckel (1934-1919) was a German zoologist and naturalist who described and named thousands of new species and created many terms used today in biology. His work of over one hundred illustrations of animals and sea creatures, Kunstformen der Natur ("Art forms in Nature"), would go on to influence the Art Nouveau artistic movement. 

This plate Tubulariae depicts many species of Hydroids. 

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Śmierć (1902)
by Jacek Malczewski

Jacek Malczewski is one of the most important Polish symbolist painters. Malczewski is associated with the Young Poland movement (Młoda Polska), a modernist period in Polish culture following more than a century of Partitions of Poland. Therefore Polish martyrdom, romantic ideas of independence, local folklore, and death were recurrent motifs in Malczewski’s oeuvre.

This hopeful message certainly bears some religious undertones. Look at this old man: he seems to be ready to die, his head turned towards death and his neck tense. His hands clutched in prayer, his fingers fiddling with a small medallion with Virgin Mary, something that many Polish Catholics wear even today.
Death looks almost like a Greek goddess. However, it’s difficult to understand her facial expression: is she feeling pity for this old man? Or is she just focused on doing her job?

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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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Orpheus Returning from the Shades (1885)
by Sir William Blake Richmond (England, 1842-1921)

This painting depicts the Greek hero Orpheus at the moment of anguish after his failed attempt to rescue his wife, Eurydice, from death and the underworld. 

Orpheus was a character in many Greek epics and was described as having superhuman musical skills. Orpheus joined the expedition of the Argonauts and saved the crew from the Sirens by playing his own, more powerful music. On his return, he married Eurydice, but she was soon killed by a venomous snake. Overwhelmed by grief, Orpheus traveled to the land of the dead to meet with Hades and plead for her return. Hades was so touched by Orpheus' story and music that he agreed to allow Eurydice to return on one condition: neither she nor Orpheus must look back during their journey to the land of the living. 

As the couple approached the opening, Orpheus caught sight of the sun and, in his excitement, turned to face Eurydice to share his relief with her. It was in that moment that she disappeared forever.  

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Illustration of the Devil, from "La Poule aux Oeufs D'or" (Goose with the Golden Egg) (1850)
by Paul Henrion

This illustration depicts a demon, or the Devil himself, in an elaborate costume. This illustration appeared alongside sheet music for the French musical play, "La Poule aux Oeufs D'or" and may have been a suggestion for a costume design.

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Geraint and Enid Ride Away (1868)
by Gustave Dore

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.

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The Crystal Ball (1902)
by John William Waterhouse (England, 1849-1917)

The model peers into the ball, leaving the viewer to imagine what she might be seeing and thinking at that point. Her appearance suggests it is pure and gentle, though the skull that sits at the back of the scene offers a more sinister touch of symbolism. A previous owner had taken a dislike to this addition and actually painted over it, though a recent restoration has thankfully returned the painting back to its original composition.

It is the touches of architecture at the back of the room that give the painting an impression of the Renaissance, with a style differing from the Gothic approach that was found in many paintings at this time. The somewhat friendlier construction of vertical and horizontal lines of the Italian papal states of centuries before feels more suited to Waterhouse's artistic style.

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"Samurai, Yokohama" (1866)
Photograph by Felice Beato (Italy, 1825-1903)

Felice Beato was one of the first people to take photographs in East Asia and one of the first war photographers. His travels allowed him to share images of countries, people, and places that were unfamiliar to people in Europe and North America. 

This Japanese Samurai may have been one of the last ever photographed, as the samurai social class was abolished two years later in 1868 as a result of the Meiji Restoration, marking the end of the Edo period in Japan. 

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Jean Simmons as Ophelia in Laurence Olivier's "Hamlet" (1948)
by Universal Pictures

Black and white promotional photo depicting actress Jean Simmons as "Ophelia" in Laurence Olivier's 1948 film adaptation of the famous Shakespeare play "Hamlet". This print is a beautiful example of 1940s Hollywood glamour.

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Human Fragility [L'Umana Fragilità] (1656)
by Salvator Rosa (Italy, 1615-1673)

 Human Fragility was painted during a time of great pestilence. The artist himself had lost many close relatives to disease, including his son, brother, and sister. The painting depicts the artist's mistress, Lucrezia, and their son. The Angel of Death is clenching the young boy's wrist and compelling him to write, "Conceptio Culpa, Nasci Pena, Labor Vita, Necesse Mori", meaning "Conception is a sin, Birth is pain, Life is toil, Death a necessity." The background of the image contains many foreboding objects and memento mori. 

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The Power of Death (1889-90)
by William Holbrook Beard (United States, 1825-1900)

The figure of Death tightly grips the neck of the thrashing tiger in its arms. Images of Death calmly walking in and taking a life are common, but here Death has the same dynamic pose as the spread-eagle tiger. Death’s foot mounts an elephant, indicating its total victory over the giant beast. We see other large predators slain in the background; Death overcomes even the mightiest in the end.

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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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Trochilidae [Hummingbirds] (1904)
plate 99 from Kunstformen der Natur by Ernst Haeckel

Ernst Haeckel (1934-1919) was a German zoologist and naturalist who described and named thousands of new species and created many terms used today in biology. His work of over one hundred illustrations of animals and sea creatures, Kunstformen der Natur ("Art forms in Nature"), would go on to influence the Art Nouveau artistic movement. 

This plate Trochilidae depicts many species of Hummingbirds, including the Ruby-Throated Hummingbird, Horned Sungem, Crimson Topaz, Red-tailed Comet, Tufted Coquette, Sword-billed Hummingbird, Buff-tailed Sicklebill, Dot-eared Coquette, White-vented Violetear, Hooded Visorbearer, Juan Fernandez Firecrown, and the Booted Racket-tail. 

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Witches' Flight (Vuelo de Brujas) (1798)
Painting by Francisco Goya (Spain, 1746-1828)

At center point are three semi-nude witches wearing penitential coroza bearing aloft a writhing nude figure, their mouths close to their victim, as if to devour him or suck his blood. Below, two figures in peasants' garb recoil from the spectacle: one has thrown himself to the ground covering his ears, the other attempts to escape by covering himself with a blanket, making the fig hand gesture to ward off the evil eye. Finally, a donkey emerges on the right, seemingly oblivious to the rest of the scene.

The general scholarly consensus is that the painting represents a rationalist critique of superstition and ignorance, particularly in religious matters: the witches' corozas are not only emblematic of the violence of the Spanish Inquisition (the upward flames indicate that they have been condemned as unrepentant heretics and will be burned at the stake), but are also reminiscent of episcopal mitres, bearing the characteristic double points. The accusations of religious tribunals are thus reflected back on themselves, whose actions are implicitly equated with superstition and ritualized sacrifice. The bystanders can then be understood either as appalled but unable to do anything or willfully ignorant and unwilling to intervene.

The donkey, finally, is the traditional symbol of ignorance.

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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 Satyr Family (1505)
Engraving by Albrecht Dürer (German, 1471-1528)

Dürer’s interest in mythological imagery stemmed from his familiarity with the Italian Renaissance. In this ambiguous engraving, Dürer depicted a satyr - a hybrid woodland creature typically associated with lust - in the role of father and family man. Instead of carousing in the forest, he plays music to his newborn child. Dürer’s play on the mother and child theme and the satyr’s unconventional fatherly behavior draws attention to a primal and simplified way of life. In contrast though, the group rests within an inhospitable dense forest where tops of trees are splintered and branches are dead, implying that the figures’ relaxed instinctual approach toward procreation and sexuality remains outside the bounds of Christian virtue.

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The Four Witches (1497)
Engraving by Albrecht Dürer (German, 1471-1528)

Dating from early in Albrecht Dürer’s career, this engraving cannot be tied to a specific narrative but may allude to the Greek goddess of the underworld, Hecate. Four nude women gather under an orb with a skull at their feet, while a ghoul emerges to their left. Three of the women could represent Hecate, who was often depicted with three faces or bodies; the fourth may be Diana, Hecate’s counterpart on Earth. The nudity and allusions to black magic suggest mischief and the realm of witches. Prints offered a new medium for exploring subject matter that was deemed inappropriate in other media, such as painting.

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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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Woman Seen from the Back (1860s)
Photograph by Vicomte Onesipe Aguado de las Marismas (French, 1830-1893)

The portrait, Woman Seen from the Back, a salted paper print from glass negative, suggests the wit and playfulness of its photographer. The image is devoid of depth, possibly an extension of the artists' work on foreshortening, making the sitter appear two dimensional and merely a silhouette.

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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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Mesmerism; Mind Reading. Magnetic Healing & Personal Magnetism
Book published in the 1930s by Johnson Smith & Company of Detroit Michigan

Artwork inspired by the cover of a vintage book called, "HYPNOTISM and SPIRITUALISM: How to Hypnotize". 

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

This nocturnal scene depicts a bare-breasted sorceress concocting her evil brew in the company of bizarre beasts. She stands within a "magic circle" scratched into the ground, the supernaturally consecrated space for witchcraft-a likely inspiration for the circular forms of Rosa's paintings. She overturns a horn into her cauldron engulfed in billowing flames; mixing with the powder are two streams of ash that spew forth from pipes held in the anus of a somersaulting demon at left. The swirling, decorative composition and the variety of grotesque creatures making knowing and silly faces at the viewer add elements of whimsy and farce to the ostensibly serious, occult subject.

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The Green Masque (1921)
Painting by Sir Oswald Birley (English, 1880-1952)

If you were a person of consequence in the 1920s, 1930s or 1940s, or wanted to choose a suitable portrait painter for a commission of an important member of society, then it is very likely that the artist you would place at the top of your wish list was Sir Oswald Birley (1880–1952).

A frequent subject of his paintings was his wife, Rhoda. Widely regarded as a beauty, she married Birley at the age of 20 when he was 41. The exhibition features a particularly beautiful portrait made by Birley soon after their marriage in 1921. Entitled The Green Masque, it depicts Rhoda in Venetian carnival attire, her alabaster face glowing against a dark background, her eyelashes demurely lowered.

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