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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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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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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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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Nymphs and Satyr (1873)
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 human body. 

“Nymphs and Satyr” depicts a group of nymphs who have surprised a satyr while bathing in a secluded pond. The nymphs, embodying both innocence and mischief, attempt to pull the reluctant satyr into the water. This scene is based on Greek mythology and captures a moment of playful yet seductive interaction between the creatures of the forest and the mythical satyr.

The composition is classical, with Bouguereau’s use of interconnected poses and careful sketches contributing to the painting’s rhythmic and realistic effect. The painting was exhibited at the Paris Salon of 1873 and was accompanied by a verse from the Roman poet Publius Statius, which emphasizes the satyr’s hesitation to enter the water due to his inability to swim.

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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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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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Guerro #9 (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 specific piece “Guerro #9” is a poignant representation of death, which is a recurring subject in Bernard’s work. The depiction of Death with a female body rowing a boat across water with a corpse is a powerful visual metaphor. It could symbolize the journey to the afterlife, reflecting the inevitability of death and the solitude that accompanies it. The use of a female figure for Death adds a layer of complexity, perhaps suggesting the nurturing aspect of nature or the final embrace of a motherly figure.

Bernard’s work, especially the “Guerro” series, is noted for its intense graphic quality and its ability to convey profound messages through stark, symbolic imagery. His art continues to resonate, as it speaks to universal themes of life, death, and the human condition.

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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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Dark Star (1925)
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.

“Dark Star” is a striking and symbolic black and white ink drawing depicting a multi-winged angel, possibly a seraphim, one of the most powerful angels in Christian iconography and associated with purity, light, and closeness with God. 

Here, however, the angel is depicted in black attire, along with an intense gaze and a black star hovering above. This could suggest a complex interplay between light and darkness, purity and mystery. The rock against which she leans may represent stability or the enduring nature of the divine, while the fog or smoke at knee height adds an element of the ethereal or the transient. It speaks to the strength and enigmatic qualities of the angelic figure, perhaps hinting at the dual nature of existence, where the celestial and the earthly meet.

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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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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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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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"Tubulaires" [Hydre] (1904)
planche 6 de Kunstformen der Natur par Ernst Haeckel

Ernst Haeckel (1934-1919) était un zoologiste et naturaliste allemand qui a décrit et nommé des milliers de nouvelles espèces et créé de nombreux termes utilisés aujourd'hui en biologie. Son travail de plus d'une centaine d'illustrations d'animaux et de créatures marines, Kunstformen der Natur (« Formes d'art dans la nature »), allait influencer le mouvement artistique Art Nouveau.

Cette planche Tubulariae représente de nombreuses espèces d'hydroïdes.

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Śmierc (1902)
par Jacek Malczewski

Jacek Malczewski est l'un des peintres symbolistes polonais les plus importants. Malczewski est associé au mouvement de la Jeune Pologne (Młoda Polska), une période moderniste de la culture polonaise après plus d'un siècle de partitions de la Pologne. Le martyre polonais, les idées romantiques d'indépendance, le folklore local et la mort étaient donc des motifs récurrents dans l'œuvre de Malczewski.

Ce message d’espoir a certainement des connotations religieuses. Regardez ce vieil homme : il semble prêt à mourir, la tête tournée vers la mort et le cou tendu. Ses mains serrées en prière, ses doigts tripotant un petit médaillon avec la Vierge Marie, quelque chose que de nombreux catholiques polonais portent encore aujourd'hui.
La mort ressemble presque à une déesse grecque. Difficile cependant de comprendre l'expression de son visage : a-t-elle pitié de ce vieil homme ? Ou est-elle simplement concentrée sur son travail ?

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Corbeau par temps nuageux
par Inconnu

Une photographie saisissante d’un corbeau planant sur un ciel orageux.

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Orphée revenant des ombres (1885)
par Sir William Blake Richmond (Angleterre, 1842-1921)

Ce tableau représente le héros grec Orphée au moment d'angoisse après sa tentative ratée de sauver sa femme, Eurydice, de la mort et des enfers.

Orphée était un personnage de nombreuses épopées grecques et était décrit comme possédant des compétences musicales surhumaines. Orphée rejoignit l'expédition des Argonautes et sauva l'équipage des sirènes en jouant sa propre musique, plus puissante. A son retour, il épousa Eurydice, mais elle fut bientôt tuée par un serpent venimeux. Accablé par le chagrin, Orphée se rendit au pays des morts pour rencontrer Hadès et plaider pour son retour. Hadès fut tellement touché par l'histoire et la musique d'Orphée qu'il accepta de permettre à Eurydice de revenir à une condition : ni elle ni Orphée ne doivent regarder en arrière pendant leur voyage vers le pays des vivants.

Alors que le couple approchait de l'ouverture, Orphée aperçut le soleil et, dans son enthousiasme, se tourna vers Eurydice pour lui faire part de son soulagement. C'est à ce moment-là qu'elle a disparu à jamais.

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Illustration du Diable, tirée de "La Poule aux Oeufs D'or" (1850)
par Paul Henrion

Cette illustration représente un démon, ou le Diable lui-même, dans un costume élaboré. Cette illustration est apparue aux côtés des partitions de la pièce musicale française "La Poule aux Oeufs D'or" et peut avoir été une suggestion pour la conception d'un costume.

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"Samouraï, Yokohama" (1866)
Photographie de Felice Beato (Italie, 1825-1903)

Felice Beato a été l'un des premiers photographes d'Asie de l'Est et l'un des premiers photographes de guerre. Ses voyages lui ont permis de partager des images de pays, de personnes et de lieux inconnus des Européens et des Américains du Nord.

Ce samouraï japonais a peut-être été l'un des derniers jamais photographiés, puisque la classe sociale des samouraïs a été abolie deux ans plus tard, en 1868, à la suite de la restauration Meiji, marquant la fin de la période Edo au Japon.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Jean Simmons dans le rôle d'Ophélie dans " Hamlet " de Laurence Olivier (1948)
par Universal Pictures

Photo promotionnelle en noir et blanc représentant l'actrice Jean Simmons dans le rôle d'"Ophélie" dans l'adaptation cinématographique de Laurence Olivier de 1948 de la célèbre pièce de Shakespeare "Hamlet". Cette estampe est un bel exemple du glamour hollywoodien des années 1940.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Le pouvoir de la mort (1889-90)
par William Holbrook Beard (États-Unis, 1825-1900)

La figure de la Mort serre fermement le cou du tigre qui se bat dans ses bras. Les images de la mort entrant calmement et prenant la vie sont courantes, mais ici la mort a la même pose dynamique que le tigre à l'aigle déployé. Le pied de la mort chevauche un éléphant, indiquant sa victoire totale sur la bête géante. Nous voyons d'autres grands prédateurs tués en arrière-plan ; La mort finit par vaincre même les plus puissants.

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Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Trochilidae [Colibris] (1904)
planche 99 de Kunstformen der Natur d'Ernst Haeckel

Ernst Haeckel (1934-1919) était un zoologiste et naturaliste allemand qui a décrit et nommé des milliers de nouvelles espèces et créé de nombreux termes utilisés aujourd'hui en biologie. Son travail de plus d'une centaine d'illustrations d'animaux et de créatures marines, Kunstformen der Natur (« Formes d'art dans la nature »), allait influencer le mouvement artistique Art Nouveau.

Cette assiette Trochilidae représente de nombreuses espèces de colibris, notamment le colibri à gorge rubis, le sungem cornu, la topaze cramoisie, la comète à queue rouge, la coquette touffue, le colibri à bec d'épée, la faucille à queue chamois, la coquette à oreilles pointées, la violette à ventre blanc, Le porteur de visière à capuchon, Juan Fernandez Firecrown et la queue de raquette bottée.

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Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

Le Vol des Sorcières (Vuelo de Brujas) (1798)
Peinture de Francisco Goya (Espagne, 1746-1828)

Au centre se trouvent trois sorcières à moitié nues portant une coroza pénitentielle portant en l'air une silhouette nue se tordant, la bouche proche de leur victime, comme pour la dévorer ou sucer son sang. En bas, deux personnages en costume de paysan reculent devant le spectacle : l'un s'est jeté à terre en se bouchant les oreilles, l'autre tente de s'enfuir en se couvrant d'une couverture en faisant le geste de la main de figue pour conjurer le mauvais œil. Enfin, un âne émerge sur la droite, apparemment inconscient du reste de la scène.

Le consensus général des chercheurs est que le tableau représente une critique rationaliste de la superstition et de l'ignorance, en particulier en matière religieuse : les corozas des sorcières ne sont pas seulement emblématiques de la violence de l'Inquisition espagnole (les flammes vers le haut indiquent qu'elles ont été condamnées comme hérétiques impénitentes). et seront brûlés vifs), mais rappellent aussi les mitres épiscopales, portant les doubles pointes caractéristiques. Les accusations des tribunaux religieux se reflètent ainsi sur eux-mêmes, dont les actions sont implicitement assimilées à de la superstition et à des sacrifices ritualisés. Les spectateurs peuvent alors être compris soit comme étant consternés mais incapables de faire quoi que ce soit, soit comme volontairement ignorants et peu disposés à intervenir.

L'âne, enfin, est le symbole traditionnel de l'ignorance.

Affiche mate

Imprimé avec de l'encre réactive aux colorants/pigments sur du papier mat d'archives. Expédié dans un tube d'affiche robuste. Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.

• Imprimé avec de l'encre réactive aux colorants/pigments
• Sur papier mat d'archives
• Expédié dans un tube à affiche robuste
• Poids lourd (230 g/m²), base épaisse (9,5 mil) et revêtement à séchage instantané qui résiste aux traces de doigts et aux taches.