"L’Atlantide" (1924)
by Almery Lobel-Riche
French, 1877-1950

Almery Lobel-Riche, born Alméric Joseph Riche, was a French painter, engraver, and illustrator renowned for his depictions of the female form and the elite society of the Belle Époque. His work “Études de Filles [L’Atlantide]” showcases his skill in etching, a medium he frequently employed to capture the sensuality and elegance of his subjects.

The series “Études de Filles” is noted for its intricate detail and the delicate interplay of light and shadow, which Lobel-Riche masterfully used to highlight the grace and poise of the female figures. The title “L’Atlantide” suggests a mythical or lost world, possibly alluding to the lost city of Atlantis, which could be a metaphor for the ephemeral nature of beauty and youth that the artist often explored in his work.

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In The Name of Humanity [In Naam der Menscheid] (1914)
by Johannes Leonardus Kleintjes (a.k.a. Jan L. Kleintjes)
Dutch, 1872-1955 

Johannes Leonardus Kleintjes is known for his genre, history, and landscape paintings. He married painter Hedwig Cecile Albertine van Osselin and he and his wife often exhibited their works together. After her death, Kleintjes painted still lifes of flowers as a tribute to her. 

“In Naam der Menschheid” (In the Name of Humanity) is a painting that was created in Brussels in February 1914, as noted by the artist on the back of the canvas. This work can be seen as a protest against the rising popularity of militarism and radical nationalism at the time. The tensions between countries in Europe, which this painting addresses, would lead to the outbreak of World War I later that summer.

The painting’s title itself, “In the Name of Humanity,” suggests a plea for compassion and reason in the face of growing militaristic fervor. Given the historical context and the symbolic nature of Kleintjes’ work, the painting likely serves as a poignant reminder of the human cost of war and the importance of maintaining our shared humanity amidst political turmoil.

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Le Répit (1893-1895)
by Valére Bernard
French, 1860-1936

Valère Bernard, also known as Valérie Bernard, was a Provençal painter and poet who expressed himself in the Occitan language. His graphic work is significant, and he is known for his contributions to symbolism, often exploring dark and macabre themes with an anti-war message. In his series of engravings titled “Guerro,” created between 1893 and 1895, he presents variations around the theme of death, inspired by Francisco Goya.

The title “Le Répit” translates to “The Respite,” suggesting a temporary pause or relief. The imagery of Death suckling a bat could symbolize the nurturing of something typically seen as sinister or ominous, perhaps indicating the cyclical nature of life and death. The bat, a creature of the night often associated with darkness and the macabre, being nurtured by Death, might represent the perpetuation of war and suffering.

In the context of symbolism, the piece would use visual metaphors to delve into the human psyche and the existential realities of mortality and war. Bernard’s use of such powerful imagery would invite viewers to reflect on the consequences of conflict and the transient nature of peace in times of war.

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Angel in a Cemetery
by Vasily Alexandrovich Kotarbinsky
Polish, 1848-1921

Vasily Alexandrovich Kotarbinsky was a Polish symbolist painter known for his historical and fantastical subjects. Kotarbinsky’s works often evoke a sense of mysticism and are rich in symbolic meaning. His paintings typically feature elements of mythology, religion, and history, rendered with a romantic and often melancholic tone.

In "Angel in a Cemetery" The six-winged angel, which could be interpreted as a seraphim based on biblical descriptions, hovering in a cemetery beside a river, suggests a scene filled with symbolism. The seraphim are known to be the highest order of angels, often associated with light and purity. 

Kotarbinsky’s choice to depict the angel as ghost-like could imply the ethereal and otherworldly nature of spiritual beings, as well as the thin veil between life and death. This artwork likely evokes contemplation on mortality, the soul’s journey, and the hope of divine presence even in the final resting place. Such a piece would be rich in emotional and spiritual depth, inviting viewers to reflect on the profound themes it represents.

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Scherzo di Follia ["Game of Madness"] (c. 1863-1866)
Portrait of Countess Virginia Oldoini Verasis di Castiglione
by Pierre-Louis Pierson
French, 1822-1913

Pierre-Louis Pierson was renowned for his exquisite portrait photography. His photography studio was frequented by much of Paris high society, businessmen, and visiting diplomats. He was also the portrait photographer of the French imperial family during the apex of the Second Empire.

Many people from all walks of life and economic backgrounds posed in front of Pierson's lens, but most enduring collaboration was with the Countess of Castiglione, Virginia Oldoini Verasias, a woman who defied societal norms and expectations. He first met her in 1856, and he remained her official photographer for forty years.

Born in 1835, the Countess became a sensation in Paris in the 1850s. Her allure and beauty captured the attention of Napoleon Bonaparte's nephew, Napoleon III, and she swiftly became his mistress and a much-talked-about ornament of the lavish balls during that period. After the fall of the Second Empire in 1870, she led an increasingly secluded existence, shrouded in veils, and her mental stability declined.

In this photograph, Countess Verasis gazes at the camera through an oval picture frame, isolating one of her eyes. The composition is both enigmatic and intriguing. The title, “Scherzo di Follia” (which translates to “Game of Madness”), adds to the mystery. Is it a playful game or a deeper exploration of her psyche?

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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)

In William Holbrook Beard’s painting “The Power of Death,” the embodiment of Death is depicted in a powerful struggle, firmly clasping the neck of a fiercely struggling tiger. Unlike the typical portrayals of Death’s serene approach to claim a life, this scene mirrors the tiger’s intense turmoil. The foot of Death is triumphantly placed upon an elephant, symbolizing an absolute conquest over the colossal creature. In the backdrop, the carcasses of other formidable predators lay defeated, illustrating the inevitable supremacy of Death over all, regardless of their strength or ferocity.

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Still Life with a Skull and a Writing Quill (1628)
by Pieter Claesz (Belgium, 1597-1661)

In this still life, close observation and realistic detail operate in tension with explicit symbolism. The toppled glass, gap-toothed skull, and guttering wick of an oil lamp all serve as stark symbols of life’s brevity. Working with a limited palette of grays and browns, Claesz carefully describes the surfaces of these unsettling objects. By arranging them on a pitted stone ledge, the artist connects the picture’s space to our own, making the message all the more compelling.

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

At center point are three semi-clothed witches wearing penitential coroza bearing aloft a writhing 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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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 debauchery - 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. 

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Tears (1898)
by Giuseppe Mentessi
Italian, 1857-1931 

Giuseppe Mentessi was an Italian painter who is often associated with the Symbolism and Realism art movements. Mentessi faced the tragedy of his father’s death early in life but managed to pursue his passion for art with the support of his mother. 

Mentessi’s work often addressed socio-economic issues and the subject of motherhood. He was known for his scenes that evoke strong emotions, such as poverty, hunger, and anti-militarism, especially during the First World War. His preferred medium was pastel, which he used to create delicate yet impactful works.

The painting “Tears,” created in 1898, is a poignant example of Mentessi’s ability to convey deep emotion through his art. The composition is unique, focusing on two hands clenched by irons trying to shake a weeping head, devoid of any physiognomic connotation. This choice emphasizes the drama and tension of the moment. The use of delicate chromatism, with shades of browns illuminated by blues and whites, adds to the emotional intensity of the piece. The painting is a testament to Mentessi’s skill in expressing feeling and narrative through his art, making him a significant figure in the transition from Realism to Symbolism in Italian painting.

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The Plague (1900)
by Arnold Böcklin
Swiss, 1827-1901 

Arnold Böcklin was a Swiss Symbolist painter whose work is known for its powerful imagery of fantasy, mythology, and allegory. 

“The Plague” depicts a grim scene of Death, personified as a spectral figure, riding a bat-like creature through the streets of a medieval town. The painting is rendered in shades of pale green, often associated with decay, against a backdrop of black and dull browns. This color palette enhances the macabre atmosphere of the scene. The only vivid color is the red cloth of a woman in the mid-foreground, who lies across another victim of the plague, emphasizing the sudden and indiscriminate nature of death.

Böcklin’s fascination with themes of war, pestilence, and death is evident in this work, which reflects the anxieties of the late 19th century. His paintings often explore the darker aspects of the human psyche, presaging the Symbolism movement that would influence artists well into the 20th century.

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Serenade (1900)
by Arthur von Ramberg
Austrian, 1819-1875 

Arthur von Ramberg was an Austrian-born painter who worked primarily in Germany. Ramberg’s works often illustrated the writings of Goethe and Schiller, and he held professorships in Weimar and Munich.

“Serenade” is a painting that captures a moment of musical courtship, a common theme in genre painting. The serenade, typically performed in the evening or night, is a musical performance given to honor or express love for someone, often beneath their window. In Ramberg’s depiction, the scene is imbued with romantic sentiment, showcasing the artist’s skill in capturing the nuances of social interaction and emotion through his brushwork. 

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Cleopatra (c. 1890s)
by Wilhelm Kotarbiński
Polish (1848 - 1921)

Wilhelm Kotarbiński’s painting “Cleopatra” is a striking example of his work in the Art Nouveau style, which is known for its intricate designs and emphasis on curvilinear forms. The painting portrays Cleopatra, the last active ruler of the Ptolemaic Kingdom of Egypt, in a way that emphasizes her legendary beauty and seductive power, which have been subjects of fascination throughout history.

In the context of Art Nouveau, Kotarbiński  used flowing lines and organic forms to capture the sensuality and allure associated with Cleopatra. The use of color and composition would play a significant role in conveying the opulence and decadence of her court. Cleopatra is often depicted in art and literature surrounded by luxury and engaging in political machinations, and Kotarbiński’s painting reflects these themes.

Kotarbiński’s work is characterized by a blend of historical and fantastical elements, and his portrayal of Cleopatra would be no exception, blending historical accuracy with artistic imagination to create a compelling image that captures the viewer’s attention and invites them to explore the story behind the figure.

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Lady in Red (c. 1900)
by Talbot Hughes
English, 1869-1942 

Talbot Hughes was a British painter known for his genre, history, and landscape paintings. His work is characterized by a focus on the refinement of subject presentation, the depiction of idealized feminine beauty, and the tribulations of romantic love.

“Lady in Red” is a richly detailed work that captures the viewer’s attention through direct engagement and the presence of a musical element. The woman’s direct gaze suggests a personal connection with the viewer, inviting them into her world. The lute across her lap adds a layer of cultural and historical context, as this instrument is often associated with the arts and courtly love in historical paintings.

Hughes’ known attention to detail and skill in rendering different surfaces makes the textures of the marble, the fabric of the dress, and the wood of the lute stand out, contributing to the overall elegance of the composition.

This painting is typical for Hughes, who often features romantic and idealized depictions of women set against richly painted backdrops that reflect his interest in historical accuracy and his skill as a genre painter. 

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Grave of a Suicide Victim (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. 

Kotarbiński’s work is known for its historical and fantastical subjects, and “Grave of a Suicide Victim” fits within this context as it explores the symbolic representation of a sensitive and possibly taboo subject for its time.

Symbolist artists often used subjects like the one in Kotarbiński’s painting to delve into themes of despair, death, and the afterlife. The somber tones and setting might evoke feelings of melancholy and introspection, inviting the audience to reflect on the value of life and the impact of societal pressures.

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Satan in the Frozen Lake (1870)
by Jean-Édouard (Yan') Dargent
French, (1824-1899)

Jean-Édouard Dargent, known as Yan’ Dargent and in his later years Yann Dargent, was a French painter and illustrator known for works characterized by detailed and dramatic visual storytelling. His illustrations and paintings have been appreciated for their historical and mythical representations.

In Dante Alighieri’s “Inferno,” (from the "Divine Comedy") the significance of Satan being trapped in the frozen lake, known as Lake Cocytus, lies in the symbolic representation of his punishment. This lake forms the ninth and lowest circle of Hell, where the worst sinners, those who committed treachery against God, are punished. The lake is said to be frozen due to the tears of Lucifer and the flapping of his wings, which keeps it perpetually icy.

Satan himself is depicted as a giant demon, immobilized up to his waist in the ice, signifying his complete impotence and isolation in the depths of Hell. He has three faces and bat-like wings, and his presence in the frozen lake serves as a stark contrast to the fiery perception of Hell that is commonly held.

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"Tubulariae" [Hydra] (1904)
plate 67 from Kunstformen der Natur by Ernst Haeckel

Ernst Haeckel (1834-1919) 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. 

The Hydra is a genus of freshwater organisms belonging to the phylum Cnidaria. The Hydra is characterized by its cylindrical body, tentacles, and mouth. It belongs to the group of cnidarians, which also includes jellyfish and corals. These simple, tubular animals are part of the class Hydrozoa. Haeckel’s illustrations capture the delicate beauty of these tiny organisms. The intricate details of the Hydra’s structure are highlighted in the artwork.

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Śmierć (1902)
by Jacek Malczewski
Polish (1854-1929)

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

Ernst Haeckel (1834-1919) 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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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 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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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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