Where? Room 27 of the National Gallery in London
When? c. 1513
Medium and size: Oil on panel, 62.4 × 45.5 cm.
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What do you see? It shows a portrait of a grotesque woman in luxurious clothes. Her face is somewhat malformed due to her suffering from Paget’s Disease. Massys did not try to idealize her, which is also evident by the wart on her cheek. The woman, however, is dressed in luxurious clothes, including a beautiful brooch on top of her headgear and several rings on her hands. Her outfit would have been fashionable some decades earlier, but by the time this was painted, it would be out of fashion.

The painting is a pendant to the portrait of An Old Man, which Massys painted in the same year. The woman is depicted as a temptress, which Massys expressed via various clues. First, she holds a rosebud in her right hand, a flower with sexual connotations. Second, she shows a fair amount of cleavage, which would be considered quite scandalous. Third, her headgear decorated with roses, also known as a escoffion, is in the form of a heart shape, although it may simultaneously be interpreted as a pair of horns. 

Four Stages in Cézanne's Career: This post is part of a series of four providing an overview of the development and change in Paul Cézanne’s approach to his landscapes from the 1860s to the early 1900s. Each part is concerned with a time period of approximately 10–12 years. Scholars have recognized each section and have named them for convenience of recognition.

• Period I: The Dark Period, 1861–1870, Also known as the “couillarde” period.
• Period II: The Impressionist Period, 1870–1878.
• Period III: The Mature Period, 1878–1890, also known as the Constructive Period.
• Period IV: The Final Period, 1890–1906, also known as the Synthetic or Syntheses Period.

Where? The Courtauld Institute of Art in London
When? 1896
Medium and Size: Oil on canvas, 64.0 x 81.3 cm.
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What do you see? A view of Lake Annecy and the Chateau de Duingt, situated in the French Alps, not far from the town of Annecy. The medieval fortress has been there since the 11th century. The view is from the opposite shore over the lake toward the castle.
 
A large tree provides a frame on the left. The tree trunk disappears at the top edge, and the branches and boughs of the tree overhang the upper edge of the painting, their diagonal brushstrokes complimenting the background mountains and framing the view. The castle is situated at the center, with the lake in front and the mountains stretching into the distance behind the partially hidden buildings. Diagonal brushstrokes going in opposing directions create height and depth in the mountains. Highlights of rust, ochre, blues, and greens take the viewer deeper into the hills and valleys.

The emerald/blue water is calming, with elongated reflections created with the edge of a palette knife. The light source comes from the left of the artwork and focuses attention on the reflections, tree trunk, and buildings. The contrast of the dark on the opposite side of the highlighting accentuates the importance of the objects in the painting. It is a peaceful scene, yet the composition and the colorings are somewhat startling at first glance. However, it is also a stirring work that asks the viewer to look harder.

British Museum, CC BY-NC-SA 4.0

Where: Room 15 of Level 0 of the British Museum
When: Probably between 490 BC and 460 BC
What do you see? A monumental vase with two mythological scenes painted on the upper part, the neck. The vase is a masterpiece of the red-figure technique and one of the iconic examples of Athenian pottery. The shape of this vase is called a volute krater (named after the spiral handles resembling the volutes of the Ionian columns).

• Side A – Achilles and Memnon: On one side is the fight between Achilles and the Ethiopian king, Memnon—the brother of Priam, the last king of Troy. Watching it are Thetis (Achilles’ mother, goddess of water) and Eos (Memnon’s mother, goddess of the dawn). Achilles is charging at Memnon from the left -- traditionally the victor’s side -- holding the spear made of Pelian ash (it came from the ash tree at Mount Pelion).
  
  Memnon defends himself with a sword in his right hand while another one is at his left side (which is a peculiar detail of the image). Eos, at distance behind him, has stretched out her arms as if pulling her hair out; her lips are open in a cry as she is about to lose her son. 

• Side B – Achilles and Hector: On the other side of the vase is another fight. This one is between Achilles (on the left) and Hector (on the right). On the far left, is Athena, the divine patroness of Achilles, the goddess of war and guardian of Athens. On the far right, behind Hector, is Apollo, who fought on the side of the Trojans. Notably, Apollo seems to be moving away from his protégée, and his raised hand holding the arrow seems to be the gesture of farewell. He knew Hector was doomed to die.
  
  ​Although Hector, the greatest fighter of Troy, will lose this fight to Achilles, soon after that Apollo will provide vengeance. He will guide the arrow shot by Paris to Achilles’ heel causing his death. Thus, the farewell was real, the arrow was symbolic. Apollo, indeed, was abandoning Hector, but the arrow in his hand foretold the way Hector’s defeater would soon lose his life.

• Rest of the vase: The entire narrative is contained in one circular frieze, which the painter placed on the lower portion of the neck of the vase. The remaining part of the vessel, besides the complex decorative band patterns, remains black. The decorative bands separating the scenes from the rest of the vessel are the meticulously reoccurring palmettes and the buds of lotus. They form a chain on the upper portion of the neck. The line with tongue pattern adorns the narrow area above the foot of the vase.
  
  The lip of the vase features the signature decorative band pattern of the Berlin Painter, the ULFA pattern (from “upper, lower, facing alternately”). It is a complex combination of a stopt key alternating with the saltire squares (sometimes also with crosses, or meanders). The krater’s handles, beautifully ornamented with the black ivy pattern, complete the details.
  
  The overall effect is the magnificence of the imagery and the technique with which it was achieved. It is the vessel of depth and mystery, the meeting place of the two worlds: the divine is intertwined with the mortal. 

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Background: This vase is one of the early works of the Berlin Painter. Carol Moon Cardon situates it in the second group of vases from his early period, falling between 500-490 B.C.  The timeframes are often tentative, depending on the source or criteria by which scholars assign them. More generally, its place in art history falls into the Late Archaic period (circa 500 to 470 B.C.) There are four preserved volute kraters by the Berlin Painter, all in the red-figure technique.
 
The London krater is unique for a variety of reasons; its architectural design resembling the temple is among the most prominent of those. The fact that the painter decided to leave the entire belly of the vase black while placing the narrative and ornamentation on its extremes speaks of his highly sophisticated approach to design and the interpretative role he attached to imagery. 

​Red-figure technique: The red-figure painting technique appeared in Athens around 520 B.C. in what is known as the Pioneers’ Group—possibly the longest lasting and most influential red-figure workshop known. The Berlin Painter was possibly the student of one of the three most important of the Pioneers, Phintias. Prior to that, until about the second half of the sixth century B.C., the world of the vase painting was dominated by the black-figure technique.
 
The red-figure technique was actually simpler than the black-figure technique. The main principle in both was the skillful regulation of the flame and oxygen flow through the oven where the vases were fired to assure the proper oxidization of iron, which, in turn, allowed the painter to achieve the desired color. The black-figure technique rested, in principle, on adding varnish to the pre-contoured shapes on the surface of the vase to create fully developed objects and figures, which turned black upon firing; the red-figure technique was the reversal of the process.
 
Who is the Berlin Painter? Very little is known about the Berlin Painter in terms of the biographical information. It was not common for the vase painters to sign their names at that time. Interestingly, the Berlin Painter inscribed the names of his characters on the London krater. And yet, we do not even know his real name since none of the works attributed to him indicates it.
 
The nickname “The Berlin Painter” was given to him by the prolific scholar, Sir John Beazley, who attributed the makers of some 30 thousand items of Athenian ceramics. The nickname is based on the amphora located in Antikensammlung in Berlin, excavated in the Etruscan city, Vulci. This amphora served as the “mother-work” of the Berlin Painter--the vase to which other found works and fragments were compared in terms of stylistic details, resulting in matching them to the hands of one maker. 
 
Some of the stylistic details of the Berlin Painter, which revolutionized the red-figure technique, include:

• His design. He avoided the “crowded” scenes on vases and often placed just one figure per side,
• His style included a distinct use of the relief lines to depict certain features (like the nose, eye, fold of the drapery, but seldom to define contours). Sir Beazley described them almost poetically as “a wiry line that stands up from the surface of the vase, can be felt with finger, and looked at closely is seen to be composed of two ridges that stand up with a furrow between…”
• The diluted glaze the Berlin Painter frequently relied on to render musculature in general).
• There are also many features of detailed human anatomy, like ankles, chest, abdominals, which the Berlin Painter rendered in a distinct manner.
• He "grounded" the figures; the characters on the Berlin Painter's vases were no longer "floating," but felt connected to some foundation, even if invisible. Sometimes it was an actual line, and sometimes a boundary of different dimension. ​

 
What we know about him as a person, we can only guess from the themes he chose for his imagery; he was fond of animals and nature, probably liked poetry and city festivals and, of course, gave homage to the gods. He avoided the otherwise common themes of bloody combats and gory scenes, or those of debauchery and drunkenness. Even his depictions of satyrs seemed to emphasize their human nature over the animalistic. The Berlin Painter just seems like a mellow, content man.
 
Other works by The Berlin Painter: In 1911, Beazley assigned 38 vases to the Berlin Painter (“master of the Berlin amphora”) and outlined the characteristics of the Berlin Painter’s renderings. His drawing style was described in 1922 and by 1925 there were already 148 vases attributed to the artist. As of today, over 400 works of pottery and fragments are attributed to the Berlin Painter. Because of their masterful artistry, they are highly appreciated and sought by the world’s museums. In the Gregorian Etruscan Museum in the Vatican Museums, there is the beautiful hydria with Apollo sitting on the winged tripod, playing the lyre, as two dolphins below make their way back into waters.
 
The Metropolitan Museum of Art has 13 vessels. Among them is another hydria, featuring Achilles slaying Penthesilea, the queen of the Amazons. This museum has arguably one of the most exquisite of all vases by the Berlin Painter, the type C amphora with the beautiful walking-singing citharode—youth playing the kithara—on one side and the contest judge on the other side. The Louvre has the largest collection of his vases, for a total of 36. The only cup known to be painted by this artist (although debates over the attribution continue) is in the Agora Museum in Athens. It is called the Gorgos Cup, after the potter Gorgos, who provided the vessel to be decorated. The name "Gorgos" as the maker of the vessel is inscribed on the cup. While some painters were also potters of the vases they worked with (and it is possible the Berlin Painter was among them in some instances), the transition from potter to painter was not at all automatic.
 
There are also the Panathenaic amphorae painted by the Berlin Painter. Those were the vases that were filled with olive oil and given as prizes to winners of the Panathenaic Games. They were always traditionally done in the black-figure technique. Only highly esteemed painters were commissioned to provide those. Out of 21 vases painted by the Berlin Painter in the black-figure technique, possibly only two are not the Panathenaic amphorae (a fragmented amphora Type A in New York and a hydria in Frankfurt).

While vases, in general, were popular in antiquity and were given as burial offerings to go with the departed close ones, only the wealthy could afford to have a vase decorated by, say, the Berlin Painter or other artists of high esteem. The amphorae given to victors of the games were a sign of the prestige of the artist whom they were commissioned to.

​Legacy: There were three immediate students of the Berlin Painter, who were all very important and painted a large number of vessels: The Providence Painter, Hermonax and The Achilles Painter. The last of them, along with his own student, the Phiale Painter, closed the workshop of the Berlin Painter in 425. Although the workshop closed, many features of the Berlin Painter’s innovative style remained with generations of vase painters. 
 
The students of the Berlin Painter and other followers who came even later into the vase painting world (the Harrow Painter, the Tithonos Painter, the Painter of the Yale Lekythos, Alkimachos Painter, just to name a few) carried on the legacy of the master by either adopting his ornamentation style, features of the design (the “less is more” on the vase), or took up shapes which were not popular among the red-figure artists before the Berlin Painter.
 
The Berlin Painter was not only the master of the already existing technique but developed it as well as expanded the repertoire of shapes which began to be painted in the red-figure technique. He was not just the master of his technique but a thinker and inventor.

​Where? Room 9 of the National Gallery
When? 1565-1570
Commissioned by? The Pisano family, probably Francesco Pisani

What do you see? This painting is full of activity. The main attention goes to the two groups of life-size people in the foreground. The painting shows how the family of Persian King Darius (in the center) appears in front of King Alexander the Great and his following (on the right) to ask for mercy. The man on the right, dressed in red and gold, is Alexander the Great. To his right, with the orange cape, is his good friend and advisor Hephaistion who is pointing to himself. Alexander is further surrounded by other high-ranked officers in his army, some of which a carrying a weapon called a halberd.

The woman in blue in the center foreground is the mother of Darius, Sisygambis. She is pleading for mercy on behalf of her family. To her left, dressed in gold is the wife of Darius, Stateira, and to her left are their two daughters in beautiful identical dresses. To the right of Sisygambis is a small figure. Some say that this may be a son of Darius and Stateira, but most consider this to be a random dwarf.

Alexander uses his right hand to silence Sisygambis and his left hand to point at Hephaistion as Sisygambis initially incorrectly spoke to Hephaistion instead of Alexander. The meeting between both groups takes place in an open hall within a big palace. Veronese paints the various figures in this painting in colorful and expensive contemporary Venetian outfits. The other figures in this painting are not important for the story but are basically onlookers just like us (though most of them do not seem to be interested in the main scene).

Backstory: The painting is based on the third book of the "History of Alexander the Great" by Quintus Curtius Rufus (see the full text of this book here) and the third book of the “Nine Books of Memorable Deeds and Sayings” by Valerius Maximum.

In 333 B.C., the Greek and the Persians were at war. Darius III was the King of Persia and Alexander the Great was a Greek king and army general. Alexander was aggressively expanding his territories around this time. The Greek just won the Battle of Issus (which is depicted by Pieter Bruegel the Elder). Darius fled the battle, but the Greeks captured his family.

​In this painting you can see the family of Darius asking for mercy to Alexander the Great. Typically, mercy was not granted and the family would be enslaved, raped, or killed. In this case, Alexander granted them mercy. Alexander actually married the oldest daughter in this painting, Stateira II, later on. The youngest daughter married later to Hephaistion.

Alexander the Great: This painting shows an important moment in Alexander the Great’s life. Hephaistion is of the same age as Alexander (around 22 years in this painting) and actually taller than him. Because of this, the mother of Darius makes a big mistake by actually addressing the advisor of Alexander instead of himself. You can see that her mouth is open and her fingers are spread as she realizes her mistake. Alexander, however, steps forward and by his hand gestures, you can see that he forgives the mistake and explains that Hephaistion is his advisor.

​According to Valerius Maximus, Alexander says: “There is nothing amiss in your having taken him for me, for he too is Alexander.” This gesture shows that, besides Alexander being a great general, he is also a diplomatic leader. At the time that this painting was created, the Venetians were at war with the Turks. So, the Pisano family commissioned this painting to teach the values of Alexander the Great to the visitors to their villa.
​
Who is Veronese? Paolo Veronese (1528-1588) was born in Verona, Italy. He is especially known for his very large historical paintings. He learned a lot from Titian and Tintoretto, who were contemporaries and were a bit older than him. He used a lot of bright colors in his paintings, something that is typical for the painters from the Venetian School. The reason for this was that the pigments arrived in Italy through the port of Venice and thus the most beautiful colors were widely available there for the best painters.

​In his work, Veronese was interested in using historical stories to provide some useful life lessons to the people in Venice. Veronese also liked to include some funny details in his paintings which were not part of the narrative. Often these were a variety of animals. See, for example, also all the animals in his masterpiece The Wedding at Cana, which is in the Louvre. While this was fine to do in paintings with a nonreligious context, he actually would get in trouble when he also did that in paintings with a religious subject. 

Fun fact: Veronese included some funny details in this painting. Noticeable is the chained monkey to the left of the family of Darius. Look also at the young boy holding Alexander’s robe who is looking at us. On the bottom right, you can see a boy bending over a shield as he is trying to see what is going on.

​On the top right is a gigantic horse, which is the horse of Alexander and is much bigger than the other horses on the left of the painting. You can even look through some of the horses on the left as the paint has become more transparent over time. On the bottom right, you can see a big dog being held back by one of the soldiers, while on the left, you see some small and friendly dogs being held.

Where? Room 18 of the National Gallery
When? 1609-1610
Commissioned by? Nicolaas II Rockox, a kind of mayor of Antwerp

What do you see? Samson and Delilah are lying in a bed. The very muscular Samson is almost naked and sleeping on the lap of Delilah. He is only wearing an animal skin (possibly of a lion that he killed with his bare hands) around his middle. Delilah is wearing a white dress with a red satin cloak and has her breasts exposed. Her face shows a gentle expression and her left hand is placed on the shoulder of Samson.

The man behind Samson cuts his hair which was the source of Samson’s extraordinary strength. On the left side, an old woman is holding up a candle to provide enough light to cut Samson’s hair. On the bottom right, below Samson and Delilah, is an expensive woven carpet. On the top right, the Philistine soldiers are waiting outside the door with their weapons to capture Samson after his hair is cut. In the background of the room are various decorations. Notably, on the top left is a statue of Venus and Cupid. A large purple curtain surrounds the statue.
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Backstory: This painting was acquired by the National Gallery in 1980 for about $6 million. At that time, it was the second-most expensive painting in the world. This painting hung originally above a very large fireplace in the house of Nicolaas II Rockox. The bottom of the painting was about three foot/meter above the floor. Rubens created the painting such that it is best appreciated when viewed from below, though it is difficult in the current museums to hang a painting that high above the floor. A preliminary study for this painting is in the Cincinnati Museum of Art.

The Biblical story of Samson and Delilah: The story of Samson is described in Judges 13-16. He was a judge of the Israelites and received an immense strength from God to fight his enemies. The only condition to not lose his strength was that he could not cut his hair. He used his strength multiple times against the Philistines, the enemy of the Israelites.

However, as described in Judges 16, one day he falls in love with the Philistine girl Delilah. The Philistines bribe Delilah to help them to capture Samson. Delilah asks Samson multiple times what the secret of his strength is such that the Philistines can get rid of it. After telling a couple of lies first, he finally tells her that the secret is that he cannot cut his hair and that he never did (interestingly, his hair is rather short in this painting).

Delilah makes Samson fall asleep in her lap and a servant cuts his hair. When the Philistines come to capture him, God has left Samson and he has lost his strength. He gets captured by the Philistines and is put in prison. After that Samson got his strength back one more time from God and killed himself and more Philistines than he had done his entire life.

Symbolism: The moral of this painting is that love can cause problems. Some people even suggest that this painting portrays a brothel and if that is the case, the message of Rubens is that you should not visit those.

The crossed hands of the man cutting the hair of Samson symbolize betrayal. The statue of Venus and Cupid in the background shows that the mouth of Cupid is covered by a cloth such that he cannot speak. This is an uncommon way to depict Cupid and symbolizes the belief of Samson that love (represented by Cupid) can lead to bad outcomes.

Who is Rubens? Peter Paul Rubens (1577-1640) is one of the most famous Baroque painters. Between 1600 and 1608, he spent a considerable amount of time in Italy and visited, among other cities, Venice, Florence, and Rome. He was able to see a lot of art masterpieces there and was particularly inspired by the works of Caravaggio, Leonardo da Vinci, Michelangelo, and Raphael. In 1608, he moved back to Antwerp where he started his extensive studio.

Rubens developed a unique painting style with an emphasis on color, movement, sensuality, and light. He created a large number of paintings, including religious ones such as the current painting and Daniel in the Lions’ Den in the National Gallery of Art, and mythological paintings such as Prometheus Bound in the Philadelphia Museum of Art.

Fun fact: There has been quite some debate over time about whether Rubens actually created this painting. While there is no doubt that Rubens created a painting of Samson and Delilah, the question is whether the version in the National Gallery is the one that Rubens painted or whether the real Rubens has been lost.

An important argument that this may not be a Rubens is related to a copy of the real Rubens painting in 1613 by Jacob Matham. There are several differences between the copperplate engraving of Matham and the painting of Rubens, such as the right foot of Rubens which is not entirely in the painting, the position of the old woman, the statue of Venus and Cupid in the background, and the carpet.

The main argument that this painting is not by Rubens is that the copy by Matham is more in line with the other paintings of Rubens than the painting in the National Gallery. However, nowadays most people believe that Rubens did make the painting in the National Gallery.

Where? Room 57 of the National Gallery
When? 1500
Commissioned by? Botticelli probably made this picture for himself
What do you see? In the center of this painting, you can see a naked baby Jesus. His mother, the Virgin Mary, is depicted to his right and is much larger than the other figures. His father, Saint Joseph, is on his left. Behind Jesus are a horse and an ox. Together they are staying in a stable. On top of the stable are three angels. One is reading a book, and the other two are holding an olive branch. To the left of Joseph is an angel in pink, holding an olive branch with a scroll attached to it, while reaching out to Joseph to introduce the three wise men. On the right of Mary is another angel with three shepherds who want to pay their respects to Jesus.

In the foreground are three pairs consisting of one angel and one man embracing each other. Each pair holds an olive branch in their hand with a scroll attached to it. They are surrounded by several little imps or devils who are killing themselves with their spears.

On top of the painting is a choir of 12 angels holding hands. The angels are doing a mystic ring dance. They are also holding an olive branch in their hands with a scroll attached to it and a crown hanging at the bottom of the branch. The angels are under the golden dome of heaven. Above this dome is a Greek inscription based on some parts of the Revelations of John related to the apocalypse.

Backstory: This painting is also called ‘The Mystical Nativity’, and it is the only painting that Botticelli signed. This painting combines the story of the birth of Jesus with his return to earth according to the apocalypse.

​The title of this painting contains the word mystic because the parts of the painting referring to the apocalypse are prophetic and express a mystery. The word mystic is occasionally used to refer to exceptional paintings with mysterious and symbolic content. Another example of such a painting is the Mystic Crucifixion by Botticelli which is in the Fogg Art Museum in Boston.

​Inscription: The inscription on top of the painting contains a message in Greek. It is translated as: “I Sandro painted this picture at the end of the year 1500 in the troubles in Italy in the half time after the time according to the 11th chapter of St. John in the second woe of the Apocalypse in the loosing of the devil for three and a half years. Then he will be chained in the 12th chapter and we shall see him trodden down as in this picture.” This message of Botticelli is based on the 11th and 12th chapter of the Revelations of John. 

Botticelli believed that the apocalypse as described in the Bible was going to happen in 1504. Specifically, he believed that he was living in the Tribulation, a short period of time in which the world would suffer from hardship and disasters. He believed that the Millennium, a period of a thousand years during which Jesus would return to earth, would start in three and a half years. This belief of Botticelli was particularly based on the various wars going on at that time and the hanging, two years earlier, of the Florentine preacher Savonarola of whom Botticelli was a follower.

Symbolism: 

• The imps at the bottom of the painting refer to the defeat of Satan. The small size of the imps in this painting is another indication of the defeat of the devil. On the other hand, Botticelli depicts Mary as unusually large to indicate her importance.
• The olive branches that are held by the angels and that grow out of the ground in the foreground are an indication of the peace that is to come after the return of Jesus to earth.
• The stable is placed in front of two big rocks, which are a reminder of the crucifixion and burial of Jesus in a tomb.
• The circle of angels on the top is a symbol of harmony. 
• Finally, the angels are dressed in white, green, and red, which are, respectively, the symbols of faith, hope, and charity.​

​Who is Botticelli? Sandro Botticelli (1445-1510) was born as Alessandro di Mariano di Vanni Filipepi in Florence. Most of his paintings have a religious theme, but he also painted portraits and mythological scenes. The latter theme resulted in his most famous works, such as The Birth of Venus and La Primavera, both in the Uffizi Museum. His painting of Venus and Mars, which is also in the National Gallery, is also a masterpiece.

​In the 1490s, Botticelli got heavily influenced by the extremist preacher Savonarola, and he even stopped painting for a while to become a full member of Savonarola’s sect. However, he picked up painting again after a while, though his productivity was lower than before (though this is not entirely certain as almost all paintings of Botticelli are undated). ​

Fun fact: The Nativity scene in this painting is the story of the birth of Jesus as described in the gospels of Matthew and Luke. Mary was still a virgin, and God promised her that she would give birth to the Christ. The accounts of Matthew and Luke, however, differ quite a bit and both have their unique components.

According to Matthew, Jesus was visited by three wise men who followed a star to worship him. Luke describes that an angel announces the birth of Jesus to the shepherds and that they subsequently visit Jesus. Also, according to Luke, but not according to Matthew, the birth of Jesus happened in Bethlehem and Jesus was born in a stable. Botticelli combined elements from both gospels for this painting.
Interested in a copy for yourself? Poster of canvas.

Where? Room 58 of the National Gallery
When? 1482-1485
What do you see? On the left, you see the goddess Venus who is carefully watching the god Mars on the right, who is asleep. Venus and Mars are having an adulterous affair. Uncharacteristically, Mars is unarmed, and he lies on a red cloak.

​You can also see four fauns (mythological figures who are half human and half goat, have small horns and tails, and they are followers of Bacchus). The fauns are blowing a Triton’s shell (a hunting horn in ancient times) like a trumpet in the ear of Mars to show that after making love even this very loud sound will not wake him up. They are also jokingly playing with the weapon of Mars (a lance), his body armor (to be precise, a cuirass; see the faun on the bottom right) and his helmet (the faun on the left). Venus is wearing a beautiful dress. On the top right you can see a swarm of wasps. Also, if you look carefully, you can see the city of Florence in the distance.

Backstory: This painting is both inspired by Greek mythology and a description of the Greek writer Lucian of Samosata (125-180) of a lost painting on Alexander the Great and his wife, Roxana. According to the mythological stories, Venus is still married to the blacksmith Vulcan (the god of fire) when she is having an affair with Mars. Whenever Venus was having an affair, Vulcan would get so angry that he treated the metal with such force that it created a volcanic eruption.

Based on the dimensions of the painting (27 x 69 inches – 69 x 174cm), this painting was likely meant to be a decoration for the backboard of a bed or a storage box. The National Gallery acquired the painting around 1874 for £1,050.

Symbolism: The overall message of this painting is that love trumps war. Venus (the goddess of love) is awake, while her lover Mars (the god of war) is asleep. On the top right, you can see a swarm of wasps, which represent the stings of love. They may also refer to the Vespucci family (vespa is Italian for wasp). Simonetta Vespucci was a beautiful woman who most likely served as the model for this painting, and she was the inspiration for many of Botticelli’s paintings. The myrtle trees behind Venus are one of the main symbols of Venus as myrtles are known as a potent aphrodisiac.

Who is Botticelli? Sandro Botticelli (1445-1510) was a painter who belonged to the Florentine school of painters. Botticelli was initially trained by his brother to become a goldsmith, but at the age of 14, he became an apprentice to the successful painter Filippo Lippi (1406-1469), known from the painting Madonna and Child with Two Angels. Greek mythological stories often inspired Botticelli’s work, and he used Venus more often as a topic for his work. For example, Venus was also the center of attention in his famous paintings The Birth of Venus and La Primavera, both in the Uffizi Museum.

Botticelli was in love with Simonetta Vespucci (a cousin-in-law of the explorer Amerigo Vespucci), who was already married to someone else. Simonetta was known as the greatest beauty of her time and died in 1476. As a result, Botticelli never married. Throughout his life, he has been inspired by Simonetta, who has served, according to popular belief, as the inspiration for many of his paintings (including the current one). According to his wish, Botticelli was buried at the feet of Simonetta Vespucci.

Who are Venus and Mars? Venus is the Roman goddess of love, beauty, sex, fertility, prosperity, and desire. Venus is also known in the Greek mythology as Aphrodite. In Latin the noun Venus means ‘sexual desire’. Julius Caesar claimed to be an ancestor of Venus.

Mars, the god of war, is one of the lovers of Venus. Mars is also an agricultural guardian. The Greek counterpart of Mars is Ares. The third month of the year, March, is named after him. In many mythological stories, Cupid is portrayed as the son of Venus and Mars.

Where? Room 56 of the National Gallery
When? 1434
Commissioned by? Possibly Giovanni di Nicolao Arnolfini, an Italian merchant living in Bruges, as a memory of his deceased wife.

What do you see? On the right is a woman in a green dress. On the left is a man with a big hat who raises his hand to the woman. The couple is holding hands. It is believed that this is their wedding day and they are dressed in expensive silk and fur. A small dog is standing in front of them.

At first, it looks like the bride is pregnant, but this is not the case. When you look carefully, she pulls up her dress merely to indicate her desire for children. In between the couple, you can see a small part of an expensive Oriental rug.

In the mirror, we can see two other people that entered the room. The mirror is surrounded by ten small paintings of the passion of Christ. Below the mirror is the signature of Van Eyck which reads: ‘Johannes de Eyck fuit hic 1434’, which means ‘Jan van Eyck was here, 1434’. This signature may suggest that Van Eyck is one of the people we can see in the mirror.

To the left of the mirror hang, so-called, prayer beads of crystal. Above the couple is a chandelier with candles. Only one of the candles above the groom is lit. The couple has both taken off their shoes. The white with black shoes of the man are in the left foreground and under the red bench is a pair of red shoes from the woman. On top of the bed is a wood carving of Saint Margaret with a dragon at her feet. To the left of this carving hangs a hand brush. On the left of the painting are four oranges and outside you can see a small part of a cherry tree.

​Backstory: This painting is known by several alternative names, such as The Arnolfini Double Portrait, The Arnolfini Marriage, and The Arnolfini Wedding.

The painting probably depicts Giovanni di Nicolao Arnolfini and his wife Giovanna Cenami on their wedding day, and the painting serves as a kind of marriage certificate. Giovanni was a rich Italian merchant from an influential family in Lucca in Italy. At the time of this painting, he was living in Bruges, which was an important trading city. He probably remained there for the rest of his life.

This painting not only celebrates their marriage but is also a way to show off the valuable possessions of the couple. Around 1438, Van Eyck created another portrait of Giovanni, which is now in the Gemäldegalerie in Berlin.

Symbolism: This painting is full of symbolism. The couple holding hands represents the unity of the couple through marriage. The prayer beads are a gift from the groom and represent purity in the marriage. The couple has both taken off their shoes indicating that this is a sacred place.

Standing with bare feet also represents fertility. The green dress of the woman also represents fertility. The carving of Saint Margaret symbolizes her role as the patron of childbirth. The bulge in the dress of the woman indicates her desire for children. She is standing in front of the bed, which further emphasizes this desire and shows her role in the marriage. The man is standing near an open window symbolizing his role in the outside world.

The red color of the bed and the bench represent passion. The dog represents fidelity. The hand brush represents the role of the woman as a housewife. The oranges are also referred to as Adam’s apples and represent the forbidden fruit that Adam and Eve ate in the paradise. They should remind the couple not to fall prey to the sin of lust.

Only a single candle above the man on the chandelier is lit. The candle above the bride is not lit anymore (you can still see the leftovers of a burnt candle) and may refer to the fact that she died already. If Giovanni di Nicola Arnolfini is indeed the commissioner of this painting, his wife died in the year before the creation of the painting. The lit candle also represents the eye of God who can see everything.

Who is Van Eyck? Jan van Eyck was born between 1380 and 1390 in Belgium and died in 1441. He was well educated and active in Belgium, France, and The Netherlands. He was a court painter, but also took private commissions of which most were portraits. In addition, he served as a diplomat for the government.

Jan van Eyck is considered one of the most important painters of the Northern Renaissance. He has created both religious and nonreligious works which was fairly rare during his time. He was one of the first painters to sign his paintings and one of the first to use oil paint instead of the tempera method which was common during his time.

Van Eyck had a big influence on many future Flemish and Dutch painters, including Johannes Vermeer. His most famous work is the Ghent Altarpiece in the St. Bavo's Cathedral. He created this piece together with his brother Hubert van Eyck.

Fun fact: It is hard to believe that during the time of this painting, couples could marry without the presence of a priest or any witnesses. In this painting, the couple gets married in a domestic setting, and only the presence of a notary was required. This is surprising given the important role of the church in society during that time.

Only since the Council of Trent, between 1545 and 1563, it was required that a priest and two witnesses needed to be present for the marriage to be valid. The presence of witnesses is still a requirement for weddings in a large part of the world.
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Interested in a copy for yourself? Poster of canvas (Amazon links).

Where? East Galleries II on the first floor of the Wallace Collection
When? 1664
What do you see? A party to celebrate the arrival of a newborn baby. In the middle, a father holds his newborn. He wears a so-called kraamherenmuts, a typical cap worn by new fathers. On the left, the mother lays in her bed (below the canopy on the top left).

Friends and family surround the father and baby. The scene is chaotic but happy. People engage in all sorts of activities, and bowls, pans, plates, egg shells, and food are scattered throughout the room. In the foreground, a maid is shown from the back. She is dressed in happy colors and holds a red chair for the father to sit in. The woman standing on the right side (from our point of view) from the father will receive some money from the father who puts his left hand in a money bag.

In the right foreground, a smiling woman is stirring in a large pot and holds up her hand to receive some money as well. Another woman helps her pouring sugar into the pot. The maid on the right is getting a sausage that hangs from the chimney. On the left, two people are paying attention to the mother, and one of them feeds her some soup. To the left of the table, a pregnant woman sits next to a crib. She holds a glass in her left hand and conceals her belly with a white apron.

Backstory: This painting has been known under several titles, including The Christening, The Christening Feast, and The Gossiping. Steen signed the painting by writing JSteen.1664 above the door. In addition, the long-haired man behind the father may be a self-portrait of Jan Steen.

The painting has been altered a bit over time, but a large cleaning in 1983 removed some of the 19th-century additions. For example, you can still see that the plate in the hand of the woman on the right (getting the sausage) was originally larger.

​Sir Richard Wallace acquired the painting on May 15, 1872. Jan Steen made several other paintings about the celebration of the birth of a child. For example, in 1668, he painted Twin Birth Celebration, which is in the Kunsthalle in Hamburg.

Symbolism: The marriage between the husband and wife is not good as there are hints that both are cheating on each other (see the fun fact below for more on this). The broken egg shells in the foreground could both symbolize the lack of sexual intercourse within the marriage and sexual intercourse outside the marriage (also notice the bits of egg yolk on the floor). The eggs were also used to produce an alcoholic cinnamon-based drink which was a traditional drink for the mother to recover from the childbirth.

The item on the bottom left, which looks like a frying pan, is a bed warmer. It refers again to the bad state of the marriage as the bed warmer indicates the only warmth there is in bed. Furthermore, the sausage hanging on the top right is also a sexual reference. Steen wanted to remind people with this painting of the importance of a good marriage.

Who is Steen? Jan Havickszoon Steen (1626-1679) was a painter from The Netherlands who is best known for the comical and ironic themes in his paintings. His works often include chaotic scenes from everyday life. Typical examples are The Merry Family in the Rijksmuseum in Amsterdam and Rhetoricians at the Window in the Philadelphia Museum of Art. However, he was quite versatile and also created mythological, religious, still-life, and portrait paintings.

​Jan Steen was the son-in-law of Jan van Goyen, a successful landscape painter from the 17th century. Steen did not always earn enough money with his paintings and ran a brewery and an inn at different points in his life. Observing people having some drinks must have been a great inspiration for Steen as this is a theme that he frequently incorporated in his paintings. 

Fun fact: Typical for Jan Steen, this painting contains some comical details, but at the same time these details completely change the meaning of the painting. For example, look right above the head of the baby. A man is raising his two fingers, which was a sign of infidelity. It is a sign that the man raising his fingers is the birth father of the child, while the man holding the baby is only the official father (as his wife has cheated on him). The woman on the right with the large breasts jokingly opens her hand to receive some money from the father. She may be the midwife, but also a little bit more than that…
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Interested in a copy for yourself? Poster or canvas.

Where? Room 66 of the National Gallery
When? 1495-1508
Commissioned by? Prior Bartolomeo Scorlione and the Confraternity for the Chapel of the Confraternity of the Immaculate Conception in the church of San Francesco Maggiore in Milan.

What do you see? The Virgin Mary, the children Jesus and John the Baptist, and an angel are pictured in a triangular composition in a rocky environment. The Virgin Mary is sitting on the ground, which is referred to as the Madonna of Humility. She is the center of attention in this painting. The right hand of Mary is on the shoulder of John the Baptist (who is the child on the left). The left hand of Mary is right above the head of Jesus, which can be interpreted as a protective gesture. John the Baptist is folding his hands and is praying towards Jesus. At the same time, Jesus, who is directly to the left of the angel, is raising his right hand to bless John the Baptist.

The angel most likely represents the Archangel Gabriel, even though the angel looks quite feminine (the painting of androgynous figures was a trademark of Leonardo da Vinci). In the background you can see the rocky grotto and a river, most likely inspired by the Dolomite Mountains, which are to the northeast of Milan. In the foreground and the grotto, various flowers and plants are depicted (including irises, lilies, and ivy).

Backstory: The commissioner of this painting wanted Leonardo da Vinci to paint the Immaculate Conception (a Catholic dogma that Mary was born without sin) to serve as the center of an altarpiece for the Chapel of the Immaculate Conception. This chapel is part of the Saint Francesco Grande church in Milan, and the chapel has been founded before 1335 by Beatrice d’Este, who was the wife of Galeazzo I, the Duke of Milan.

On the left and right of this painting would be two paintings of angels playing a musical instrument to complete the altarpiece. On the left is An Angel in Green with a Vielle painted by an associate of Leonardo, possibly Francesco Napoletano. On the right is An Angel in Red with a Lute by Giovanni Ambrogio de Predis.

​Leonardo da Vinci has painted the biggest part of this work but he has some help from his assistants. One important argument, according to The Guardian, which supports the involvement of some assistants is that some of the flowers and rocks are not accurately depicted (whereas one of the trademarks of Leonardo is that he was always very accurate in depicting natural elements in his work).

Symbolism: The rocks and caves represent sanctuary. The rocks also refer to Jesus, who is often called the rock of the Christian religion. The flowers and plants are also carefully chosen. For example, the palm leaves, which can be seen behind the head of John the Baptist, are a symbol of Mary and a symbol of Jesus victory over earthly temptations.

The angel is clearly identified based on his wings. Mary is directly visible by her blue clothing and the halos help us to identify who is sacred/holy. John the Baptist can easily be identified by his cross of martyrdom.

Who is Leonardo da Vinci? Leonardo da Vinci (1452-1519) was born in the Italian village of Anchiano, which was very close to Vinci, which is where he got his name from. He was an architect, astronomer, engineer, inventor, mathematician, musician, painter, writer, and much more. Leonardo da Vinci is known to be one of the biggest multi-talented people that the world has ever seen.

​Leonardo was notorious for being substantially late in delivering his paintings and was not afraid to abandon projects halfway. Most of the surviving paintings of Leonardo have become famous, including The Annunciation (in the Uffizi Museum) and the Mona Lisa (in the Louvre).

Fun fact: Interestingly, there are two versions of this famous painting. The other version of The Virgin of the Rocks is in the Louvre.

The version in the Louvre was the first to be completed and is much less conventional. For example, the current version in the National Gallery contains halos on top of the heads of John the Baptist, Jesus, and Mary, and John the Baptist is carrying a cross with him (these elements are not present in the version in the Louvre). You can also see a clear difference in the face of Jesus. Also, in the National Gallery version of the painting, the angel is not pointing at John the Baptist and seems to gaze in the distance (as if the angel is dreaming/imagining this scene, instead of participating in it).

The reason that there are two versions of this painting is that the Confraternity rejected the first version of Leonardo. It was not traditional enough (for example, no halos and a lack of symbolism) and thus did not suit the purpose of representing the dogma of the Immaculate Conception (which was the sole purpose of the Confraternity).

Leonardo da Vinci considered the Louvre version of the painting a real masterpiece in which he could perfectly express his artistic ideas. After the Louvre version of the painting was rejected, Leonardo created another version of this painting (the current version), which included all elements that the Confraternity asked for.
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Interested in a Copy for Yourself? Poster