Tapestry of Fantastical Beasts in a River

Michael Coxcie

Woven in Brussels (c.1565) in a Flemish workshop according to Coxcie's design, this tapestry depicts hybrid beasts and serpents in a dense river landscape reflecting Renaissance fascination with nature’s wildness and moral allegory, symbolizing sin and chaos before divine order.

Mosaic of the Seasons with Cornucopias

This Roman floor mosaic (4th–5th cc. AD) from Le Capannelle on the Via Appia depicts the Four Seasons personified, each framed by cornucopias and birds. It symbolizes the eternal cycle of nature, fertility, and abundance, central to Roman cosmology and villa life. The Seasons, shown with symbolic attributes, reflect Romans’ reverence for nature and its impact on agriculture and daily life.

Fantastical Rhinoceros

This mural detail (c. 1590) depicts a rhinoceros modeled on Dürer’s 1515 woodcut, which became the European archetype of the beast despite anatomical inaccuracies. Its armored plates and dragon-like expression reflect colonial-era fascination with exotic fauna, filtered through Renaissance imagination and limited firsthand knowledge of African and Asian animals.

Rishi Relief

This sandstone carving (12th c.) from Angkor Wat depicts a rishi, or sage, central to Hindu tradition. Rishis embody wisdom and ascetic discipline, credited with composing the Vedas and guiding humanity through divine knowledge. The refined lines of the beard, crown, and ornaments reveal Khmer artistry’s fusion of spiritual symbolism and courtly elegance. Such imagery affirmed Angkor’s role as both sacred and imperial.

Opus Sectile Panel: Abduction of Hylas and Festive Procession

This early 4th-c. opus sectile from the Basilica of Junius Bassus—an elite civic complex built by the powerful urban prefect—shows Hylas, Heracles' beloved companion sent to fetch water for the Argonauts, kneeling with his water jar as nymphs seize him, enchanted by his beauty. In the myth they pull him into the spring forever, leaving Heracles to search in vain. Below, a marble procession panel evokes order and civic ritual, contrasting mortal duty with divine seduction.

Euclid Teaching Geometry

Raphael

In this vibrant lower-right scene from The School of Athens (1509–1511), Raphael presents Euclid demonstrating geometric principles with a compass. Painted in Rome during the High Renaissance, this detail celebrates empirical learning as foundational to human knowledge. The intense focus of his young onlookers reflects the Renaissance ideal of rediscovering ancient scientific wisdom through observation and reason.

Baroque Portal of El Sagrario

This monumental baroque portal marks the threshold of El Sagrario, the auxiliary chapel of Quito’s Metropolitan Cathedral. Crafted in the 18th c., its swirling vegetal forms, gilded angels, and sculpted saints exemplify the Quito School’s fusion of Spanish baroque with local aesthetics. The overwhelming visual density evokes a mystical transition from the profane to the divine, guiding the faithful into sacred space.

Cupid and Psyche

This marble group (4th c.) from the Domus di Amore e Psiche presents Cupid and Psyche in a tender embrace. Their youthful forms, gentle gestures, and delicate modeling embody themes of love, beauty, and immortality—ideal subjects for private enjoyment within the opulent domestic sphere.

The Rape of Proserpina

Bernini

In this masterful marble (1621–22), Bernini captures Pluto’s violent abduction of Proserpina—an allegory for the changing seasons from Roman myth. Her twisting body and anguished face contrast Pluto’s force, while Cerberus, the underworld’s three-headed hound, reinforces the drama. At just 23, Bernini infused the stone with breathless motion and tactile realism, anchoring the Borghese legacy in Baroque brilliance.

Mona Lisa, Age Twelve

Fernando Botero

In this whimsical reimagining (1959), Botero transforms da Vinci’s iconic subject into a voluminous child. Created in his signature Boterismo style, the painting blends parody with homage. Born from a cleaning lady’s remark, the work helped launch Botero’s career, celebrating exaggerated form as a tool for both humor and artistic identity.

The Earth

Einar Jónsson

This sculpture (1904–08) depicts a human figure cradling a smaller, draped form, symbolizing the Earth or nature. Jónsson, an Icelandic sculptor, is known for his symbolic and allegorical works exploring mythology, spirituality, and the human condition. This piece reflects his exploration of humanity’s connection to the natural world and the spiritual realm.

Calle de la Juventud at Night

This cobbled street in Santa Fe de Antioquia comes alive after dark with cafés, bars, and locals enjoying the cool evening air. Colonial balconies and celosías (wooden lattice windows) reflect Spanish architectural legacy, while string lights and laughter infuse the scene with contemporary vitality.

The Witch of Zascandil

Luis Alberto Acuña

This portrait (1991) shows the Witch of Zascandil, a figure rooted in Colombian folklore. Sharp features and widened eyes create a tense, exaggerated profile. The name Zascandil refers to a trickster or wandering mischief-maker in regional stories. The image indicates how rural mythology blends satire, fear, and ancestral belief.

The Triumph of Galatea

Raphael

In this fresco (c. 1512), Raphael transforms Galatea’s myth into a celebration of divine beauty. The sea nymph rides a shell chariot drawn by dolphins (linked to Venus), while cupids shoot arrows symbolizing love’s universal power. Though the original tale includes jealousy and tragedy, Raphael omits them, presenting an idealized vision of harmony and grace.

Aún Hay Tiempo

Julio César Ojeda Ariza

This 2021 work blends oil and ink to portray a woman whose hair becomes a lush tapestry of biodiversity and rural life. Symbolizing Colombia’s natural and cultural abundance, it warns of its fragility. The title, There’s Still Time, urges collective action to preserve the environment and ancestral wisdom.