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[Home] |
The Art of Myths
Welcome to that section of our Virtual Museum highlighting select illustrations from the Collection depicting seminal mythical scenes from a variety of traditions.
Here, you will have the opportunity to connect with masterful illustrations prepared to accompany enduring stories from mythology and the classics by some of the great artists from the Medieval period through to the Golden Age of Illustration.
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In the meantime, enjoy perusing these powerful images from the Collection.
"The Nuremberg Chronicle"
(1493)
St Michael
Fighting the Dragon
"Apocalipsis
cum Figuris"
(1498)
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (11x14'')
Code: NC
VII
(11x14)
Fine Art Poster (12x18'')
Code: AD SMFD (12x18)
This illustration from "The Nuremberg Chronicle"
depicts two elements of the Biblical
tale of the expulsion of Adam and Eve from the
Garden of Eden: to the right, Adam
and Eve are shown eating from the 'Tree of
Knowledge'; and, on the left, the pair are
being driven from Paradise by one of the Cherubim -
members of one of the nine choirs
of Angels - appointed by God to guard the earthly
Paradise from the couple's return.
"The Nuremberg Chronicle" - the masterpiece of Hartmann Schedel - is among one
of the most famous
titles
to
have been
created and is
known variously as "Liber
Chronicarum", "Die Schedelsche Weltchronik" and - in English - "The Nuremberg
Chronicle". It is a magnificent
work arising from
the collaboration of
figures from the
German Renaissance. Schedel's compilation includes
illustrations
from artists such
as: Michael Wohlgemuth;
Wilhelm Pleydenwurff; and Albrecht
Dürer.
"The Nuremberg Chronicle" was printed and published
by Anton Koberger.
For more information on "The Nuremberg
Chronicle" and other illustrations of the
period, we invite you to peruse our
Medieval and Renaissance Collection.
This illustration from "Apocalipsis cum Figuris"
depicts a passage from the
"Book of Revelation", Revelation 12:7:
... and there was war in Heaven: Michael and his
angels fought
against the Dragon; and the dragon fought and his
angels ...
Albrecht Dürer's suite of illustrations known as the
"Apocalypse" were first
published in 1498 under the title "Apocalipsis cum Figuris".
For that seminal
First
Edition, the set of 15 plates was published simultaneously in Latin and
German.
Based upon the Biblical "Book of Revelation", wherein
the destruction of the
wicked, the overthrow of Satan and the establishment of a
new kingdom of
Christ is described in florid allegorical fashion, "Apocalipsis cum Figuris"
included some of Dürer's most powerful illustrations.
For more information on Albrecht Dürer, we
invite you to peruse our
Albrecht Dürer Collection
that includes some of his seminal work,
including:
•
his suite of illustrations accompanying the
Revelations of St John -
known as ''Apocalipsis
cum Figuris'';
•
his suite of illustrations known as
''The Large
Passion'';
•
his suite of illustrations known as
''The Life
of the Virgin'';
•
his suite of illustrations known as
''The Small
Passion'';
•
his suite of illustrations known as
''The
Engraved Passion'';
•
''Knight, Death and the Devil'';
•
''The
Abduction of Proserpine'';
•
his portrait of
''Cardinal Albrecht of Brandenburg''; and
•
his magnificent series of plates comprising the
''Great Triumphal
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (11x14'')
Code: PVM O M118 (11x14)
Fine Art Poster (18x24'')
Code: BBS T C101 (18x24)
This illustration depicts that portion of the 'Aenied'
- from Vergil's "Opera" - wherein
Aeneis and the Sybil meet Palinurus on the shores of
the Cocytus on their approach
to the entrance to Hades. Charon is shown
approaching across the river Styx.
"Opera" is
the collected works of Publius Vergilius Maro (known as Vergil) - a
classical Roman poet. It includes his 'Eclogues', 'Georgics' and the 'Aeneid'.
Some time before 1502, an artist - now only known as
'the Master of the Grüninger
workshop' prepared a series of woodcuts to accompany a volume edited by Sebastian
Brant (the author of "Das Narrenschiff", or, "The Ship of Fools"). Subsequently, that
series of woodcuts has become recognized as one of the greatest collections to have
been published.
For more information on the Brant
edition of "Opera" and other illustrations of the period,
we invite you to peruse our
Medieval and Renaissance Collection.
"Theuerdank"
- the longer variant of the title is "Die geuerlicheiten un einsteils
der geschichten des loblichen streytparen und hochberümbten helds und
Ritters heer Tewrdannckhs" (literally translated as
"The Adventures of the
honourable, valorous and far-famed knight, Sir Theuerdank") - was
one of
three works commissioned by Emperor Maximilian I intended to chronicle
his life. The other works were "Der Weisskunig" and
"Freydal". Of the
three
titles, "Theuerdank" was the only tale to be completed and published
prior to
his death - the text and woodblocks for "Der
Weisskunig" had been
finalised, but remained unpublished.
Our
Medieval and Renaissance Collection includes every illustration
from ''Theuerdank''
and a magnificently
preserved example of
(1880)
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (18X24'')
Code: GM G (18X24)
Fine Art Poster (12x18'')
Code: GM LO (12x18)
Moreau's "Galatea" depicts a scene from the
tale of the king, Pygmalion, that
became so obsessed with a statue that the goddess Venus
to brought the statue
to life and united the two in marriage.
Gustave Moreau (1826-1898) was a French Symbolist
painter.
He developed an interest in depicting
mythological and religious themes through influences including those of his
initial artistic training and his social network.
Moreau has been quoted as
providing the following description of his artistic
interests and goals:
I am dominated by one thing, an irresistible, burning attraction
towards the abstract. The expression of human feelings and the
passions of man certainly interest me deeply, but I am less
concerned with expressing the motions of the soul and mind
than to render visible, so to speak, the inner flashes of intuition
which have something divine in their apparent insignificance
and reveal magic, even divine horizons, when they are
transposed into the marvelous effects of pure plastic art.
For more information on Gustave Moreau and to
see more of his art, we
invite you to peruse our
Gustave
Moreau Collection.
Doré's "Les Océanides" provides an
interpretation of the mythic "Okeanides" from Greek
mythology, the three thousand goddess Nymphs controlling
the world's fresh water.
The genius of Gustave Doré is one of the marvels of
19th Century art.
The range of Pagan and Christian imagery exhibited
through his work belies a colossal
imagination and a magnificent apprehension of
all possible conditions of human experience.
His lofty insight into the
mysteries of Spiritual existence as reflected from Earthly actualities
entitle him to be classed among the great creative geniuses of all time.
For more information on Gustave Doré, we
invite you to peruse our
Gustave
Doré Collection
that includes some of his seminal work, including his suite of illustrations for:
•
the
''Holy Bible'';
•
Michaud's
''History of the Crusades'';
•
Dante's
''Inferno''
and
''Purgatory and Paradise'';
and
•
Milton's
''Paradise Lost''.
The Lad in the
Bear's skin and the King of Arabia's daughter
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (18x24'')
Code: AR
TLH (18x24)
Fine Art Poster (18x24'')
Code: KN BB (18x24)
This powerful illustration from Rackham was
inspired by the tale of the 'Twelfth Labor of
Hercules' within the "Library" of Apollodorus -
wherein Hercules was to bring Cerberus from
Hades.
Arthur Rackham (1867-1939) is one of the great
artists associated with the Golden Age of
Illustration.
His illustrations are characterised by a
sinuous pen line softened with muted watercolour - a
feature that is typical of
the Art Nouveau aesthete. Rackham's forests are looming with
frightening grasping roots, his fair maidens are sensuous - yet somehow chaste - and his
ogres and
trolls ugly enough to repulse, but with sufficient good nature not to frighten.
For more information on Arthur Rackham and to
see more of his art, we
invite you to peruse
our Arthur
Rackham Collection.
This illustration from Nielsen is one of a
suite prepared for "East of
the Sun
and West of the Moon" - an English adaptation of a selection
of Norse legends from the "Norske Folkeeventyr" of Asbjörnsen and
Moe.
Kay Nielsen (1886-1957) is considered by many to be among the
leading
artists associated
with the Golden Age of
Illustration.
Nielsen's first published commission included a suite of monotone
and
full colour illustrations
for "In Powder and Crinoline" (1913). A year
later,
his illustrations from "East of the Sun and West of the Moon" -
considered
by many to be among his
masterpieces - were published.
Following
World War I, he produced other great works, including his
suites for
"Fairy Tales by Hans Andersen", "Hansel and Gretel and
other stories
from the Brothers Grimm" and "Red Magic".
For more information on Kay Nielsen and to
see more of his art, we
invite you to peruse our
Kay Nielsen
Collection.
Salomé,
the Daughter of Herodias
Cú Chulainn and
the Battle-Goddess
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (12x18'')
Code: ED WML 4 (12x18)
Fine Art Poster (18x24'')
Code: WP
CBG (18x24)
Dulac's "Salomé, the Daughter of Herodias" depicts the legendary seductress in
what may be considered to be the erotic dance
described in the New Testament.
Edmund Dulac (1882-1953) is one of the great artists associated with the
Golden
Age
of Illustration.
Dulac displayed an artistic interest from an early age,
with his favourite
medium - watercolours - being established in his teenage years.
Typically, even
Dulac's early illustrations do not rely upon an ink line to hold the colour as he
approached the relatively new colour printing medium as a coloured ink
drawing.
In 1913,
the mellow, romantic blues that Dulac had tended towards a brighter
palette and more oriental style that characterised his work for the remainder of
his life.
For more information on Edmund Dulac and to
see more of his art, we
invite
you to peruse our
Edmund Dulac Collection.
This powerful and evocative illustration by Willy Pogány
depicts one of the great heroes of Irish
myth - Cú Chulainn - and the submission of Aoífe and his capture of the fabled
weapon
'Gáe Bulg' following a battle.
Willy
Pogány (1882-1955) was another of the artists identified with the Golden Age of
Illustration. He was a prolific contributor to both childrens' and adult books -
providing
illustrations to over 100 titles. His Art Nouveau influenced work is
simply stunning.
Departing
from his native Hungary, Pogány lived in London for 10 years from 1906 - illustrating
a number of books during that time, including "Faust" (1908)
and the most elaborate of his
numerous interpretations of "Rubáiyát of Omar Khayyám"
(1909).
Prior to
his emigration to the United States of America in 1914, Pogány also completed what
are considered to be his masterpieces, with suites
of illustrative interpretations of Wagner's
trilogy of "Tannhäuser" (1911), "Parsifal" (1912) and
"Lohengrin" (1913). Fabulous work followed
his relocation to the United
States of America, including his magnificent monotone work for
"The Kasidah of Haji Abdu El-Yezdi" (1931) and
"The Light of Asia; or, The Great Renunciation
(Mahâbhinishkramana)
being The Life and
Teaching of Gautama" (1932).
For more information on Willy Pogány and to
see more of his art, we
invite you to peruse our
Launcelot lay sleeping under
the Apple Tree
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (8x10'')
Code: TM AHK C3 8x10
Fine Art Poster (20x30'')
Code: FCP FH 20x30
This illustration is one of a suite
prepared by Mackenzie for "Arthur and His
Knights". His selection and presentation of subject is inspired and the
rendering of colour superbly in a
mixture of subtle and rich tones is indicative
of his milieu.
Thomas Mackenzie (1887-1944) was an artist
associated with the Golden
Age of Illustration. He produced illustrations for books and watercolours
during the early 20th
Century.
His earliest commissioned works were for "Ali Baba and Aladdin"
and
illustrations for Chaundler's "Arthur
and His Knights". Other illustrated books
followed, including "Aladdin and His Wonderful Lamp",
"Hassan" and
"The Crock
of Gold".
Mackenzie's illustrations are reminiscent of the work of his Art Nouveau
peers,
including Aubrey Beardsley, Harry Clarke and Kay
Nielsen. His
images for "Arthur and His Knights, in particular, are
stylistically similar to
those of Nielsen in "East of the Sun and West of the
Moon", but have a
softness about them that remind one
of the watercolours that he also
produced.
For more information on Thomas Mackenzie and to
see more of his art,
weinvite you to peruse our
Thomas Mackenzie Collection.
Papé's "Falcon the Hunter" depicts a meeting
between the legendary
medieval Russian bogatyr (Knight-errant), Dobrynya Nikitich,
and
Falcon the Hunter.
Frank C Papé (1878-1972) was an English artist
associated with the
Golden Age of Illustration. He contributed colour
illustrations to many
titles in his early career - at that time, his artwork carried many Art
Nouveau and Pre-Raphaelite influences.
Throughout the latter part of his career, Papé
contributed to illustrated
books almost exclusively with monotone images.
For more information on Frank C Papé, we
invite you to peruse our
Frank C
Papé Collection that includes some of his seminal work,
including his suite of illustrations for:
•
''The
Toils and Travels
of Odysseus''
;
•
''Fifty-Two Stories of
Classic Heroes''
;
•
''Siegfried and Kriemhild''
;
•
''The Russian Story Book''
; and
•
''Suetonius' 'Lives of the Twelve Caesars'''.
Sir Tristram kneeled before la beale Isoude
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (8x10'')
Code: EP RTLI C5 (8x10)
Fine Art Poster (12x18'')
Code: EBJ VHG (12x18)
This is one of a suite of illustrations
prepared by Paul for "The Romance of
Tristram of Lyones and La beale
Isoude" - a tale that draws on the Celtic
French tradition for this tale of tragically mismatched love.
Evelyn Paul (1883-1963) was an English artist associated with the Golden
Age
of
Illustration. She is, perhaps, best known for her work as an
illuminator.
Paul's illustrations - often accompanying her
illuminations - were influenced
by a variety of styles including Gothic Revival,
Art Nouveau and Arts and
Crafts. Among individual artists that may have provided
significant influence
to her style is the noted the Pre-Raphaelite, Dante
Gabriel Rossetti.
Her most famous work appeared in titles including "Stories from Dante",
"The Romance of Tristram of Lyones and La beale Isoude",
Dante's "La Vita
Nuova", "Aucassin & Nicolete" and "Clair de Lune
and Other Troubadour
Romances".
For more information on Evelyn Paul and to
see more of her art, we invite
you to peruse our
Evelyn Paul Collection.
This illustration is a design for a tapestry prepared by Burne-Jones that
depicts the scene
from
Arthurian myth wherein the Holy Grail appears in a vision to Sir Galahad, Sir
Percival
and
Sir Bors.
Sir Edward Coley Burne-Jones (1833-1898) was an artist associated with the
Golden Age
of
Illustration. He was a designer linked with the Pre-Raphaelite
Brotherhood.
While attending Exeter College in Oxford, he became a friend of William Morris -
with whom
he
later contributed to a number of magnificent works. He studied
under Rossetti before
traveling to
Italy and drawing further influences from a
range of artists, including Ruskin, with
whom he
traveled.
Burne-Jones was largely responsible for bringing
the Pre-Raphaelites into the mainstream
of the British art world and in doing
so, he executed some of the most exquisite and
beautiful artworks of his time.
It is not without reason that Aymer Vallance referred to
Burne-Jones as "the
greatest painter the world has known since the fifteenth century".
For more information on Edward Burne-Jones and to
see more of his art, we invite you to
peruse our
Edward Burne-Jones Collection.
And then the queen said: "Ah,
dear brother,
why have you tarried so long from me?" ...
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (12x18'')
Code: WRF MA C47 (12x18)
Fine Art Poster (11x14'')
Code: SM SGD 11x14
This illustration is one of a suite of images
prepared by Russell Flint for "Le Morte
d'Arthur".
William Russell Flint (1880-1969) was a
Scottish painter who is associated with the
Golden Age of Illustration - he has been referred to
as the greatest watercolour artists
of his time.
William Russell Flint was formally trained in
art at the Royal Institution School of Art in
Edinburgh and served an apprenticeship at a
printing works before moving to London at
the age of 20. Before becoming a freelance
artist in 1907, he worked for "The Illustrated
London News" from 1903.
William Russell Flint's illustrations for
Limited Editions of a number of classic works are
greatly collectable, including those for
"The Thoughts of the Emperor Marcus Aurelius
Antoninus", Mallory's "Le Morte D'Arthur:
The Book of King Arthur and his Noble Knights
of the Round Table", Kingsley's "The Heroes;
or, Greek Fairy Tales for My Children";
"The Canterbury Tales of Geoffrey Chaucer",
"Theocritus, Bion and Moschus" and
"The Odyssey of Homer".
For more information on William Russell Flint
and to see more of his art, we invite you to
peruse our
William Russell Flint Collection.
Meteyard's "St George and the Dragon" depicts
a scene from the classic myth that
was introduced to Western Europe during the
Crusades.
Sidney Meteyard (1868-1947) is among the artists
associated with the Golden Age
of Illustration.
Meteyard was an English artist who has been associated
with the Pre-Raphaelite
movement and was a member of the Birmingham Group.
For more information on Sidney Meteyard and to
see more of his art, we invite you to
peruse our
Sidney Meteyard Collection.
Dobrynia
Nikitich frees Zabava Putiatichna
Full image (on the left) and detail (to the
right) for reference
Full image (on the left) and detail (to the
right) for reference
Fine Art Poster (20x36'')
Code: EM E (20x36)
Fine Art Poster (12x18'')
Code: IB DNZPGD C1 (12x18)
"Eos" by de Morgan depicts the Titan goddess
from Greek
mythology who rose from her home at the edge of Oceanus
to
herald her brother, Helios, the Sun god.
Evelyn de Morgan (1855-1919) is one of the
artists associated with
the Golden Age of Illustration. Spiritually inspired, de
Morgan's
style is influenced by the Pre-Raphaelites and it is renowned for its
allegorical and symbolic tone.
Her initial formal art training was undertaken at the
Slade School
of Art, with an appreciation - and influence from - Renaissance
Masters being fostered during the many opportunities she had to
visit Florence.
The range of themes interpreted by de Morgan through
her
paintings is significant and the powerful spiritual tone impossible
to
resist. Through her use of an extraordinary variety of colours,
movement and
attention to detail, she has few equals.
For more information on Evelyn de Morgan
and to see more of
her art, we invite you to peruse our
Evelyn de Morgan
This extraordinarily powerful and vibrant illustration
by Ivan Bilibin depicts an
episode from Byliny (Russian oral tradition) wherein Dobrynia rescues Zabava,
the niece to Prince Volodymir of Kiev, from Gorynych the Dragon.
Ivan Bilibin (1876-1942) is a Russian artist associated with the Golden Age of
Illustration.
Throughout his long career, Bilibin was influenced by
Slavic folklore in
choosing themes to illustrate - on one occasion, he published his
thoughts
on the matter in "Folk Arts of the Russian North" (1904).
Bilibin was a member of Sergei Diaghilev's 'Mir
iskusstva' ('World of Art')
group and, in addition to illustrating books, also
contributed to designs for the
theatre.
For more information on Ivan Bilibin and to
see more of his art, we invite you
to peruse our
Ivan Bilibin Collection.
Kriemhild has a
dream wherein a
Falcon is killed
by two Eagles
Full image (on the left) and detail (to the
right) for reference
Full images shown as Diptych
Fine Art Poster (11x14'')
Code: NCW LC C7 (11x14)
A pair of Fine Art Posters (16x20"
each)
Code: COC DN C1|2 (16x20)
This illustration is one of a suite prepared by
Wyeth for a portion of
"Bulfingh's Mythology, 'Legends of Charlemagne'.
Newell Convers (N C) Wyeth (1882-1945) is an American artist associated
with the Golden Age of
Illustration.
Throughout his artistic career - that included both
painting and illustrating -
Wyeth created more than 3,000 paintings and
contributed illustrations to
over 100 books.
Wyeth showed advanced artistic skills from an early age
and his artistic
pursuits were encouraged by his mother and after some
intermediate
training at the Massachusetts Normal Arts School and the Eric Pape
School of Art, he became a stellar student in Howard Pyle's School of Art.
During the early years of his work as an illustrator,
Wyeth restricted
himself to themes of classic Americana - particularly those
related to
Western subjects.
Beginning in 1911, however, Wyeth shifted his focus
to that of classic
literature.
For more information on Newell Convers Wyeth
and to see more of his
art, we invite you to peruse our
Newell Convers Wyeth Collection.
These paired illustrations are among the suite
prepared by Czeschka for
"Die Nibelungen" - a variant of the Germanic myth interpreted by Franz Keim.
The myth of the Nibelung is associated with the ancient
Burgundian royal
family that had settled in Worms.
Carl Otto Czeschka (1878-1950) is among the
artists associated with the
Golden Age of Illustration, being both a prominent
member of the Vienna
Secession and a designer for the Wiener Werkstätte.
Stylistically, Czeschka had similar influences to
Gustav Klimt, but his work
was more abstract. He worked on a variety of projects
throughout his career
in varied media, including woodcuts, stained glass
commissions, theatrical
designs, jewelry and furniture.
For more information on Carl Otto Czeschka and to
see more of his art, we
invite you to peruse our
Carl Otto
Czeschka Collection.
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