For most travellers, 10 museums is far too many to visit in a week in Mexico City; however, I hope that this list gives you an idea of what spots might best suit your interests and are worth your time in this incredible city!

Table Of Contents

1. Museo de Arte Popular (Museum of Popular Art)
   • Tickets & Hours
2. National Museum of Anthropology (Museo Nacional de Antropología)
   • Tickets & Hours
3. Frida Kahlo Museum (Museo Frida Kahlo / La Casa Azul)
   • Tickets & Hours
4. Chapultepec Castle (Castillo de Chapultepec)
   • Tickets & Hours
5. Museo Soumaya
   • Tickets & Hours
6. Museo Nacional de Arte (MUNAL)
   • Tickets & Hours
7. Museo de Arte Moderno (Museum of Modern Art)
   • Tickets & Hours
8. Palacio de Correos de México (Postal Palace)
   • Tickets & Hours
9. Museo Universitario Arte Contemporáneo (MUAC)
   • Tickets & Hours
10. Palacio Nacional (National Palace)
    • Tickets & Hours
      • Happy Travels, Adventurers

Museo de Arte Popular (Museum of Popular Art)

If there’s one museum in Mexico City that captures the joyful, colourful essence of Mexican creativity, it’s the Museo de Arte Popular. Housed in a beautifully restored Art Deco building in the historic centre, this museum is dedicated to the rich traditions of Mexican folk art. From Day of the Dead altars and alebrijes to intricate textiles, ceramics, and piñatas, every gallery bursts with life, texture, and story. If I could only visit one museum in Mexico City, this would be the one. Obviously a personal choice, but I find this museum to be the most delightful, insightful and inspiring museum!

What makes this museum truly special is its celebration of everyday creativity. The pieces on display are crafted by artisans from all across Mexico, highlighting the country’s regional diversity and deep cultural roots.

National Museum of Anthropology (Museo Nacional de Antropología)

Tucked inside Chapultepec Park, the National Museum of Anthropology is widely regarded as the crown jewel of Mexican museums. Its modernist architecture, especially the soaring concrete umbrella supported by a single pillar in the central courtyard, is an architectural marvel that sets the stage for what lies within. This museum isn’t just a collection of artifacts; it’s a cultural pilgrimage. Each gallery unfolds the story of Mexico’s Indigenous civilizations, from the Olmec to the Aztec and Maya, through masterfully curated displays of sculptures, jewellery, codices, and ceremonial relics.

The museum’s layout allows visitors to trace the evolution of pre-Hispanic societies, with detailed explanatory texts and interactive displays that provide depth and context. The Aztec Sun Stone, perhaps its most iconic piece, anchors the collection as a powerful symbol of Mexico’s past. If you’re curious about exploring the museum’s most impactful highlights with deeper context, be sure to check out our full guide to the must-see pieces right here.

Frida Kahlo Museum (Museo Frida Kahlo / La Casa Azul)

Nestled in the bohemian neighbourhood of Coyoacán, the Frida Kahlo Museum, affectionately known as La Casa Azul (The Blue House), is an intimate tribute to one of Mexico’s most beloved and iconic artists. This vibrant cobalt-blue home, where Kahlo was born and later lived with Diego Rivera, retains much of the original furniture, personal items, and studio materials. The atmosphere feels personal and reverent, as though you’re walking through the pages of her diary.

The museum offers a rare glimpse into Frida’s inner world. Her colourful traditional Tehuana dresses, medical corsets, and custom-designed prosthetics reflect the physical pain and political conviction that permeated her work. Original paintings, drawings, and photographs are on display, but perhaps more powerful are the everyday artifacts that shaped her reality. Tickets often sell out, so booking in advance is a must, but the experience is well worth the effort for any admirer of art, feminism, or Mexican cultural heritage. Check out our complete self-guided tour here!

Chapultepec Castle (Castillo de Chapultepec)

Perched atop a forested hill overlooking Mexico City, Chapultepec Castle is the only royal castle in North America and a breathtaking blend of imperial elegance and revolutionary history. Once the residence of Emperor Maximilian and Empress Carlota, the castle later became the presidential residence before transforming into the National Museum of History.

Inside, period rooms are preserved with ornate furnishings, grand staircases, and frescoed ceilings, evoking the opulence of 19th-century court life. The museum traces Mexico’s turbulent history, from Spanish conquest to independence and revolution. Monumental murals by artists such as Juan O’Gorman and Siqueiros grace its walls, offering a visual narrative of Mexico’s evolving identity. For tips on exploring Chapultepec Castle at your own pace, take a look at our self-guided tour post.

Museo Soumaya

In stark contrast to the colonial and classical façades of many museums, Museo Soumaya is a futuristic architectural icon located in the upscale neighbourhood of Polanco. Its shimmering, undulating exterior of 16,000 hexagonal aluminum tiles resembles a cloud or a seashell, drawing photographers and design lovers from around the world. Funded by billionaire Carlos Slim, admission is always free, making it one of the most accessible art museums in the city.

Inside, the museum houses a remarkably eclectic collection that spans centuries and continents. Highlights include European old masters like Rodin and Tintoretto, religious relics, Mexican silverware, and a surprisingly extensive selection of Impressionist and Post-Impressionist art. Six floors spiral upwards in an airy helix, culminating in a top-floor gallery bathed in natural light. Soumaya is a treasure trove that surprises and delights, blending the grandeur of a European collection with a distinctly Mexican philanthropic vision.

Museo Nacional de Arte (MUNAL)

Located just steps from the bustling Zócalo, the Museo Nacional de Arte (MUNAL) is housed in a grand neoclassical palace that once served as the Ministry of Communications. Today, its sweeping staircases, stained-glass ceilings, and marble columns create a fittingly majestic setting for Mexico’s national collection of art from the 16th to the 20th centuries. The building itself is worth a visit, but the art within is what truly elevates the experience.

MUNAL’s galleries chart the evolution of Mexican visual culture, from colonial religious painting to the dawn of modernism. Highlights include works by José María Velasco, renowned for his epic landscapes, and Diego Rivera’s early academic paintings. Thoughtful curatorial choices highlight how Mexican artists absorbed and responded to European styles while forging a unique national identity.

Museo de Arte Moderno (Museum of Modern Art)

The Museum of Modern Art offers a thought-provoking space to explore Mexico’s 20th-century artistic innovations. The building itself, with its circular exhibition halls and incredibly peaceful sculpture garden, encourages a meditative approach to viewing art.

The permanent collection includes some of the country’s most influential artists, such as Remedios Varo, Leonora Carrington, and Rufino Tamayo. A highlight is the iconic “Las dos Fridas” by Frida Kahlo, though it is sometimes on loan (check in advance to avoid disappointment). Temporary exhibitions often showcase bold contemporary voices and explore themes such as identity, surrealism, and political resistance. The Museo de Arte Moderno is a must for visitors looking to go beyond the expected and engage with the avant-garde side of Mexican creativity.

Palacio de Correos de México (Postal Palace)

While technically still functioning as a post office, the Palacio de Correos museum is easily one of Mexico City’s most awe-inspiring buildings. Designed by Italian architect Adamo Boari (who also designed the Palacio de Bellas Artes), this early 20th-century masterpiece is an exuberant mix of Gothic, Renaissance, and Art Nouveau styles. Inside, its grand staircase, golden balconies, and ornate metalwork feel like something out of a European opera house. And the ornate interior of Palacio de Correos de México served as visual inspiration for the Department of Family Reunions in Pixar’s Coco.

The building also contains a small postal museum that showcases antique mailboxes, stamps, and historic postal equipment. To access the most fascinating parts of the building, you’ll need to enter through the museum. Even if you’re not particularly interested in postal history, the exclusive access to its architectural treasures makes the small admission fee well worth it.

Museo Universitario Arte Contemporáneo (MUAC)

Situated within the strikingly modern architecture of UNAM’s campus, the Museo Universitario Arte Contemporáneo (MUAC) stands as one of the premier institutions for contemporary art in Latin America. Its clean lines and minimalist façade reflect the cutting-edge art held within. This isn’t a space for nostalgia; MUAC is forward-looking, intellectual, and unafraid to provoke.

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Inside, the rotating exhibitions tackle pressing social and political issues, often through multimedia and experimental formats. From video installations and soundscapes to digital art and performance pieces, MUAC champions the voices of contemporary artists working at the edge of innovation. But in my opinion, the best part of making your way out to the MUAC is exploring the campus of UNAM, which is considered a UNESCO World Heritage Site. As you stroll through its wide avenues and plazas, you’ll encounter murals by Diego Rivera and David Alfaro Siqueiros adorning the walls of faculty buildings, alongside monumental examples of mid-century Mexican modernist architecture. The Central Library, with its iconic mosaic mural by Juan O’Gorman, is a highlight not to be missed. This sprawling university isn’t just a place of learning; it’s a living museum, blending education, activism, art, and architecture in a uniquely Mexican expression of national pride and intellectual life.

Palacio Nacional (National Palace)

Located on the eastern side of Mexico City’s Zócalo, the Palacio Nacional is not only the seat of the federal government but also home to one of Diego Rivera’s most monumental works: The History of Mexico mural. Painted between 1929 and 1951, the mural spans the interior walls of the main stairwell and vividly narrates the sweeping saga of Mexico’s past, from Aztec cosmology and Spanish conquest to revolutionary fervour. It’s a powerful, visual storytelling experience that immerses you in Rivera’s politically charged, vividly imaginative world.

Beyond the murals, the palace itself is an architectural landmark with colonial-era courtyards, grand balconies, and historic chambers. If you’re a fan of Rivera or Mexican history, this is one of the most rewarding and underrated stops in the Historic Centre.

I hope this post gives you some insights into which museums you want to visit with your presence on your next trip to Mexico City! Let me know in the comments if you would have added a different spot to the list or which was your favourite to explore.

Happy Travels, Adventurers

The post 10 Best Museums in Mexico City You Shouldn’t Miss first appeared on The Creative Adventurer.

I am someone who truly believes in museum fatigue, and to be honest, some of my least favourite museums tend to be the ones that brag about being “the biggest” or having the “largest collection” of anything. There is simply too much to see in one space, and you can find yourself either overwhelmed or exhausted at the thought of trying to take it all in.

After years of figuring out how to survive huge museums without burning out, I’ve gotten pretty good at spotting the pieces that are the most meaningful. So, after doing a lot of research and going in with a real plan, when I finally visited the Museo Nacional de Antropología on my 2026 trip to Mexico City, I focused on finding the artifacts that really express the larger story the museum is trying to share, while also highlighting the pieces that actually stay with you long after you leave.

Table Of Contents

1. Practical Tips
2. History of Museo Nacional de Antropología
3. Understanding the Museum Layout
4. The Great Courtyard Umbrella Fountain
5. Begin Your Tour in the Teotihuacan Gallery (Room 4)
6. The Disc of Mictlantecuhtli
7. The Atlantean Warrior of Tula
8. The Sacred Ball Game Hoops
9. Tula Breastplate
10. Chac Mool
11. The Jaguar Cuauhxicalli
12. Cihuacóatl
13. Stone of Tizoc
14. The Aztec Sun Stone
15. The Statue of Coatlicue
16. Xochipilli, the Flower Prince
17. Feathered Headdress of Moctezuma
18. The Jade Bat Mask of Monte Albán
19. Olmec Colossal Head
20. Mictlantecuhtli, Lord of the underworld
21. The Tomb of Pakal the Great

Practical Tips

Hours and Admission

Open: Tuesday to Sunday, 9:00 AM – 5:00 PM
Closed: Every Monday, regardless of holidays
Last Entry: Exhibit halls begin closing at 4:45 PM

I think it’s best to get there early, since that’s usually when the museum feels the calmest and least crowded. Sundays are free for Mexican citizens, so the galleries tend to fill up quickly, which makes it a day you might want to skip if you prefer more space to move around.

Admission Prices (Effective January 1, 2026)

General Admission: $210 MXN
Discounted Admission: $105 MXN for Mexican nationals and foreign residents with a valid ID
Free Admission: Children under 13 years old | Seniors over 60 (with INAPAM card) | Students and teachers with valid Mexican institutional ID | Pensioners and retirees with appropriate credentials | People with disabilities

If you know what day you’ll be visiting, my best advice is to buy tickets online, which you can get from ventadeboletosenlinea.inah.gob.mx. Although you can buy them onside, both at a vendor booth and using the electronic ticket booths, this can be slow on busy days, so it’s always advisable to buy them in advance.

How to Get to the Museo Nacional de Antropología

If you’re staying nearby in the Polanco neighbourhood, you can pretty easily walk to the museum. If you prefer to take a ride share, there is a drop-off point just off Reforma, below the stairs to the museum.

If you are taking the metro, there are two easy options. Chapultepec Station (Line 1, the pink line) is usually the simplest for first-time visitors. From here, you walk into Chapultepec Park and head west toward the museum. The walk is about 15 minutes, depending on pace. Auditorio Station (Line 7, orange line) works well if you are coming from Polanco or the west side of the city. From Auditorio, you can either walk about 15 to 20 minutes through the park.

History of Museo Nacional de Antropología

When the Museo Nacional de Antropología opened in 1964, it was never meant to be just a place to store artifacts. It was designed as a national project. A way to tell the story of Mexico through the cultures that shaped it long before modern borders existed. Architect Pedro Ramírez Vázquez and a team of archaeologists, anthropologists, and historians worked together to create something closer to a narrative landscape than a traditional museum. Each room was built to let a culture speak in its own context, organized by geography and time, but not ranked by importance.

After Mexican independence, and especially after the Mexican Revolution, there was a huge push to reclaim and protect Indigenous history as part of national identity. Excavations across the country, from Teotihuacan to Monte Albán to the Maya regions, began uncovering massive sculptures, tomb objects, murals, and everyday tools. Many of the most important pieces you see today were discovered during scientific excavations in the late 1800s and throughout the 20th century. Others were moved from earlier museums or government collections into this purpose-built space once it opened. Some monumental pieces, like the massive Mexica sculptures, were actually found buried under Mexico City itself during construction projects in earlier centuries and later became foundational pieces in national collections.

What I think is easy to forget when walking through the galleries is that this museum is not just about ancient history. It is also about modern Mexico deciding to preserve, study, and center Indigenous civilizations as part of its identity.

Understanding the Museum Layout

The museum is built around the central courtyard fountain, and each floor tells a completely different part of Mexico’s story. The first floor focuses on ancient Mesoamerican civilizations, with galleries organized by culture and region rather than strict timelines. This is where you see the monumental pieces most people associate with the museum, including massive stone sculptures, ritual objects, and site reconstructions connected to cultures like the Mexica, Maya, Olmec, Teotihuacan, Zapotec, and more.

Many of these ground-floor galleries also open out into their own outdoor courtyard spaces. These exterior areas often feature large stone monuments, architectural fragments, altars, and reconstructions of temple elements that would have originally stood outside in ceremonial plazas. In some sections you can see large-scale carvings that are too massive for interior display, while others recreate the feeling of standing inside an archaeological site rather than a museum room. Stepping into these outdoor spaces gives you a chance to reset between galleries, but it also helps you understand how these objects originally existed in open-air sacred landscapes, surrounded by sunlight, weather, and public ritual life rather than glass cases.

The second floor focuses on living cultures, named the ‘Ethnography Halls’, focusing on Indigenous communities in modern Mexico and how traditions have continued and evolved after colonization. The collection features a myriad of textiles and everyday objects, exploring identity, survival, and cultural continuity, and it challenges the idea that Indigenous history ended in the colonial period. It’s best to visit the second floor after you’ve finished exploring the first floor.

The Great Courtyard Umbrella Fountain

Upon entering the museum, you will walk straight out into the large, central courtyard. Standing in the centre is a massive concrete umbrella fountain. Architect Pedro Ramírez Vázquez designed this structure as a symbolic bridge between ancient and modern Mexico. The column collects rainwater and distributes it naturally, without mechanical pumps, relying on gravity alone.

This design intentionally echoes the sophisticated hydraulic systems of civilizations like Teotihuacan and the Maya, who engineered aqueducts, reservoirs, and drainage networks centuries before European contact. Water was not just a resource. It was sacred. Controlled water meant political power, agricultural stability, and cosmic balance.

Standing beneath the falling water, you’re placed physically inside that idea. The museum doesn’t begin with an object. It begins with a system. Survival through knowledge of nature. Everything you see inside flows from this principle.

Begin Your Tour in the Teotihuacan Gallery (Room 4)

I think one of the best places to start your visit is the Teotihuacan Gallery, in Room 4, containing objects from AD 100 -700. The first three rooms do a good job of laying out basic anthropology and the early peopling of the Americas, which helps set the stage, but they stay fairly general and can feel a bit dry, especially since they’re packed with information right out of the gate. I would say if you’ve been to an anthropology museum before and have a general understanding of what anthropology is, you can skip the first three rooms.

The Teotihuacan Gallery is where the museum really begins to narrow in on artifacts specific to ancient Mexico, and where the deeper story of these civilizations really starts to take shape. At its height, roughly between 100 and 550 CE, Teotihuacan was one of the largest cities in the world. Not just in Mesoamerica, but in the world. Tens of thousands of people lived here, in a carefully planned city built around massive ceremonial avenues, pyramids, apartment compounds, and religious complexes. It was a colossal and well-organized city, suggesting strong political control, advanced engineering, and a shared religious system that shaped everyday life.

What makes Teotihuacan especially important is that we still do not fully know who built it. Unlike the Mexica or Maya, Teotihuacan left very little written record. Much of what we know comes from architecture, murals, and artifacts. But its influence spread across Mesoamerica. Trade networks, religious imagery, and urban planning ideas connected Teotihuacan to distant regions, which is part of why archaeologists see it as one of the foundational civilizations of ancient Mexico.

The Disc of Mictlantecuhtli

Welcoming you into Teotihuacan is the slightly disconcerting Disc of Mictlantecuhtli. At first glance, this stone skull can feel unsettling, grimacing at you with its exposed teeth and intense, almost confrontational expression. But this was never meant to be horror in the way modern culture understands it. In the Mexica belief, Mictlantecuhtli ruled Mictlan, the underworld where most souls travelled after death. He was not seen as evil, but as necessary, because death was understood not as punishment, but as a fundamental part of how existence was structured.

The circular shape of the disc matters because circular imagery in Mesoamerican art is often tied to cycles of time, movement, and the paths of celestial bodies. The disc reinforces the idea that death was part of an ongoing loop. The Mexica believed the sun itself travelled through the underworld each night before rising again. Underworld imagery was not only about endings, but about renewal and continuation.

Mictlantecuhtli imagery also appears in ritual spaces connected to sacrifice and burial. In many cases, death deities were tied to transformation rather than destruction. The body returned to the earth. The spirit moved into another realm. The gods themselves had sacrificed to create humanity, so sacrifice and death were understood as part of maintaining cosmic balance. When you look at this disc, you are looking at that agreement between humans, nature, and the divine. Life required death for the universe to remain.

Pyramid of Quetzalcoatl

Stepping into the Teotihuacan rooms, you will see at the back the overpowering structure that is the spiritual and political heart of Teotihuacan; Pyramid of Quetzalcoatl. This is a reconstruction, of course, but if you have visited the pyramids at Teotihuacan, seeing it here still matters, because it helps you understand how it would have originally looked. Teotihuacan was not originally a grey stone city like it appears today. Buildings were covered in bright pigments, creating a city full of colour. The temple would have been part of an overwhelming visual experience designed to communicate power and cosmic order. Walking into this space thousands of years ago would have felt like stepping into a living religious landscape rather than just approaching a building.

The exterior was covered with carved heads of feathered serpents, usually linked to Quetzalcoatl, alongside heads tied to rain and water symbolism associated with Tlaloc. Quetzalcoatl was one of the most important deities across Mesoamerica, often associated with creation, wind, knowledge, and the movement between the human and divine worlds. Tlaloc, on the other hand, was the powerful rain and storm god, responsible for water, fertility, and agricultural survival, making him essential to everyday life and long-term stability for these civilizations.

Quetzalcoatl appears as the feathered serpent, with a long snout and carved feather patterns that make the figure feel fluid and in motion. Tlaloc is easier to spot by his large circular goggle-like eyes and prominent fangs, giving him a heavier, more powerful appearance tied to storms and rain. Pairing these two gods together reflected the Mexica worldview, where sky, rain, fertility, and survival were deeply connected. Some researchers believe this combination symbolized political authority tied directly to control over natural forces, especially agriculture and water. In a city dependent on environmental stability, this symbolism was extremely powerful.

There is also a political dimension to this structure that often gets overlooked. Teotihuacan controlled major trade routes, especially obsidian, which helped it dominate regional economies. Monumental architecture like this temple reinforced that power. It showed organization, wealth, and religious authority all at once. The city was not just surviving. It was projecting influence across Mesoamerica.

The Atlantean Warrior of Tula

Exiting Room 4 and entering Room 5, you are stepping into the Toltec galleries (AD 700-1200), moving from cultures that feel rooted in priesthood, agriculture, and cosmic cycles into something more focused on warfare. The Atlantean warriors from Tula are probably the closest thing the Toltecs have to a defining image of their civilization. These massive stone figures originally stood on top of a pyramid temple, physically holding up the roof of the sacred structure. That alone shows how the Toltecs understood power, with war, religion, and architecture all functioning as one unified system rather than separate ideas.

Each warrior is carved wearing full ceremonial battle gear consisting of a feathered headdress, ear spools, a butterfly breastplate and weapons like the atlatl spear thrower or bundles of darts. Mexica ear spools were circular ear ornaments worn by nobles, priests, and elite warriors, and they were a clear visual marker of status, identity, and rank. They were placed through stretched earlobes and could be made from materials like gold, jade, turquoise mosaic, obsidian, or carved stone, depending on the wearer’s social position. You’ll notice ear spools on many statues and carvings throughout the museum, so it helps to understand what you’re looking at when you spot them.

Atlantean Warriors of Tula are not just any ol’ soldier; they are meant to be designed to represent idealized warriors. Almost mythological versions of real military power. The Toltecs were ruled by a military elite rather than priest-kings, which makes these sculptures feel almost like official state messaging carved in stone. Some Atlante figures are connected to the planet Venus. In Toltec belief, Venus was not just a star. It was tied to warfare cycles, time, and the movement between darkness and light. Some interpretations describe these warrior figures as manifestations of Venus itself, fighting darkness and maintaining balance in the universe.

The Sacred Ball Game Hoops

Just left of the Atlantean Warrior, you’ll see what otherwise might be missed as a simple round structure with a hole in the center. But what you’re actually standing in front of is something that once sat at the center of ritual life across Mesoamerica. The sacred ball game, known in some regions as tlachtli, was played by moving a heavy rubber ball across the court using only hips or knees. The goal was to send the ball through stone rings mounted on the side walls. And this ring here is one of the ancient hoop used to play the game. Above the stone, you’ll also see a painting depicting people playing the game.

The hoops were mounted high above the playing surface, making successful shots rare and almost miraculous. Again, here we see the image of the circle, both in the hoop and a ball, representing celestial bodies like the sun or moon moving through cosmic space. When a player successfully sent the ball through the ring, it was not just about scoring points. It was reenacting cosmic balance, the constant struggle between day and night, life and death.

There was also a more serious side tied to the game. In some cases, players, often team leaders, were sacrificed after major matches. This was not understood as punishment, but as an offering meant to help maintain cosmic balance and support fertility, rainfall, and survival. The game itself dates back to at least 1600 BCE and spread across many civilizations, which makes the hoop one of the strongest symbols of a shared Mesoamerican worldview that lasted for thousands of years. You can also see several of these hoops displayed in the exterior corridors just outside the gallery, where you can compare different sizes and regional styles.

Tula Breastplate

The Tula Breastplate is a fantastic work of art and a piece of jewellery that archaeologists found in what they call the Burnt Palace complex. Today, this piece is considered one of the best surviving examples of ceremonial warrior dress from the Toltec world. Finds like this are rare because organic materials and detailed costume pieces usually do not survive over centuries, which makes this breastplate especially valuable for understanding how elite warriors presented themselves during ritual and state ceremonies, not just in battle.

The piece was constructed using hundreds of small seashell plates carefully arranged to form a protective and decorative surface, with an additional necklace layer made from shell elements placed above it. The use of the shell was not random. Shell materials were highly valued in Mesoamerica, often associated with water, fertility, and connections to distant trade networks, since many shells had to be transported from coastal regions. When you imagine this breastplate worn during ceremonies, it would have caught light, reflected movement, and visually reinforced status, power, and sacred authority all at once.

Chac Mool

If the Atlantean Warrior represents how the Toltecs saw power, the Chac Mool statue shows you how they saw communication with the divine. At first glance, the figure looks almost relaxed, their head is reclined, knees bent, with a small bowl or disk resting on their stomach. The body position is passive, almost resting, but the head, especially the eyes, appear to be on alert, watching and waiting

The Chac Mool is a figure that appears across multiple Mesoamerican cultures, but they are especially tied to Toltec and later Mexica religious practice. It was seen as a ritual object where offerings were placed directly onto the bowl, creating a physical point where humans and gods could meet. They were usually placed at the entrances of temples or near sacred altars. Offerings like food, incense, blood, or sometimes even a human heart would be placed into the bowl before being symbolically passed to the gods.

Some scholars believe this pose may reflect a state between worlds, not fully human, not fully divine. It physically creates a bridge between earth and sky. When you think about how much Mesoamerican belief systems focused on balance, cycles, and layers of reality, this body position starts to feel very intentional.
Another layer that makes Chac Mool figures fascinating is how long they stayed culturally relevant. The Mexica adopted the form centuries after the Toltecs, which tells you how influential Toltec religious imagery became. Later cultures often looked back at Toltec civilization as a kind of cultural golden age. Reusing the Chac Mool form was not just copying art. It was claiming legitimacy, history, and connection to an older sacred authority.

The Jaguar Cuauhxicalli

Moving into Room 6, the Mexica (1200-1521), you’ll be greeted by the grinning faces of the Jaguar Cuauhxicalli. A cuauhxicalli was a sacred stone vessel used to hold offerings, most famously human hearts taken during sacrifice rituals. The word itself roughly translates to something like “eagle gourd,” but many surviving examples, including this one, take the form of powerful animals like jaguars. The jaguar was one of the most important sacred animals in Mesoamerica, associated with night, the underworld, warfare, and elite warrior orders.

Jaguars were apex predators; they were silent, powerful and most importantly, deadly. In the Mexica belief, they were connected to the night sun, the version of the sun that travelled through the underworld after sunset. That symbolism made the jaguar the perfect guardian figure for offerings tied to sacrifice and cosmic renewal. When hearts were placed into vessels like this, it was understood as feeding the gods and helping maintain the balance that kept the universe functioning.

From a craftsmanship perspective, these vessels also show how advanced Mexica stone carving was. The musculature, teeth, and posture are all carefully controlled. The bowl is integrated directly into the body of the animal, merging ritual function with symbolic meaning. You are not just looking at a container but a living symbol of sacred power. Objects like this would have been placed in temple settings, where they became part of large-scale ceremonies tied to state religion and political authority.

Cihuacóatl

Down the stairs, to the right of the Jaguar, you will see a series of sculptures depecting Cihuacóatl, a mother goddess who existed at the exact point where life and death meet. Cihuacóatl was connected to childbirth, warfare, and the earth itself. The Mexica thought that these were not separate forces. Birth involved blood and risk, war involved sacrifice. The earth received the dead and produced new life. And Cihuacóatl embodied all of that.

Cihuacóatl was especially tied to women who died in childbirth, who were honoured in a way that mirrored fallen warriors. The Mexica believed childbirth was a form of battle. A woman bringing life into the world was seen as fighting between life and death. If she died in that process, it was understood as a sacred sacrifice. Cihuacóatl protected these women and guided them in the afterlife. Visually, figures associated with Cihuacóatl often combine symbols of beauty, power, and death. You might see serpent imagery, heavy ritual jewelry, or skeletal facial features.

Stone of Tizoc

On the far left side of the gallery, you’ll spot an enormous round stone, sitting on a plinth. This is the Stone of Tizoc, created in the late 15th century during the reign of the Mexica ruler Tizoc. This circular basalt monument would serve as a ritual altar, political propaganda, and cosmic symbol. The sides of the stone are where the political message really comes alive. Carved in a continuous band are scenes of Mexica warriors capturing enemies from other regions. These are not chaotic battle scenes, but carefully controlled and repeated images meant to reinforce the same message of Mexica victory, capture, and dominance. In Mexica society, capturing enemies was more important than killing them in battle, because captives could be used in ritual sacrifice. That means these carvings are not just about war. They are about feeding the gods, maintaining cosmic balance, and reinforcing imperial authority at the same time.

The top surface adds another layer of meaning. The radial design feels solar, almost like movement or energy spreading outward, and at the center is a deep circular cavity. Many researchers believe this may have been used during ritual ceremonies, possibly connected to sacrifice or offerings. What matters most is that the stone physically places ritual action at the center, with empire literally carved around it. Religion, warfare, and cosmic survival were never separate ideas in the Mexica world. They were all part of the same system of responsibility between humans and the gods.

The Aztec Sun Stone

Doubtlessly, the most famous object in the museum is the Aztec Sun Stone. While it is often called the “Aztec Calendar”, that description is incorrect. The stone is better understood as a cosmological map than just a simple calendar. Created in the late 15th century during the height of the Mexica Empire, the massive circular stone represents the era the Mexica believed they were living in, known as the Fifth Sun.

At the center is the face most scholars identify as Tonatiuh, the sun deity, surrounded by symbols representing earlier worlds believed to have existed and been destroyed before the present one. The Mexica believed that the sun required nourishment through sacrifice in order to continue moving across the sky. Tonatiuh is depicted in the center of the stone, his tongue extended in the shape of a sacrificial blade, and his clawed hands are gripping human hearts. The surrounding rings include day signs, ceremonial time cycles, and symbols tied to ritual life.

The history of the Sun Stone after the fall of the Mexica Empire adds another layer of meaning. It was rediscovered in 1790 beneath what is now Mexico City’s main square during colonial construction. Many Indigenous religious objects were destroyed during this period, but the Sun Stone survived. For a time, it was even incorporated into colonial architecture, reflecting the complicated relationship between suppression and preservation of Indigenous history. Its rediscovery helped spark early efforts to preserve pre-Hispanic history and played a role in shaping the development of Mexico’s national museum system. The Sun Stone also became a symbol of Mexican identity beyond archaeology. The rediscovery of major Mexica sculptures in the late 18th century helped shift how people understood Mexico’s past, transforming Indigenous civilizations from something colonial authorities tried to erase into something central to national identity.

The Statue of Coatlicue

Just to the left of the Sun Stone, you can see the ominous figure of Coatlicue standing in front of you. The scale alone is overwhelming, towering above the visitors. Serpents twist where her head should be. A necklace of human hands and hearts hangs across her chest. Her skirt is made of intertwined snakes. Every surface feels charged with meaning. Coatlicue was not meant to be comforting. She was meant to show the full truth of existence. Creation and destruction were never separate forces in the Mexica belief. They were the same cycle, happening over and over again.

Coatlicue was the mother of the sun, moon, and stars, which immediately places her at the center of the Mexica universe. But unlike later Western ideas of a nurturing earth mother, Coatlicue is fierce, terrifying, and powerful. One surviving description describes her with a serpent-like head, a necklace of human body parts, and a skirt of serpents, all symbols tied to sacrifice, rebirth, and the movement of cosmic energy. This was not horror for shock value. It was theological storytelling in which life required death, crops required sacrifice, the sun required nourishment, and the world continued only through balance.

There is also a psychological impact that is hard to ignore in this statue. The statue forces you to confront how differently the Mexica understood existence. There was no clean separation between life and death. The earth was not gentle. It was powerful, hungry, and sacred all at once. I think this is one of the moments in the museum where you really feel the distance between modern worldviews and ancient ones.

Xochipilli, the Flower Prince

Hidden against the wall on the left side of the gallery is the emotionally provocative statue of Xochipilli. Unlike the heavy, intimidating presence of figures like Coatlicue, Xochipilli feels delicate and vulnerable. He is the Mexica god of flowers, music, dance, art, beauty, and sacred pleasure. But he is not just about celebration in a simple sense. In Mexica belief, flowers symbolized poetry, truth, and the fragile beauty of life, representing something temporary and precious that blooms, fades, and returns again, a cycle embodied by Xochipilli.

What makes this statue especially important is the detailed carvings covering its body. Researchers have identified many of these carvings as sacred plants, including species associated with altered states of consciousness. These were not recreational symbols. In ritual contexts, these plants were connected to communication with the divine, prophecy, and spiritual transformation. The statue is believed to show Xochipilli in a state of sacred ecstasy, sitting upright but leaning slightly back, as if caught in a moment between the physical and spiritual worlds. It gives the figure a feeling of intensity rather than relaxation. The posture is important because he is not seated casually, but instead appears alert, lifted, and almost vibrating with energy. In Mexica culture, music, dance, and altered consciousness were part of religion and were ways to connect with the gods and understand existence, with Xochipilli representing sacred joy rather than escape.

Feathered Headdress of Moctezuma

Few objects carry as much emotional weight, political history, and artistic brilliance as the feathered headdress often associated with Moctezuma II. The piece you see in the museum today is a replica, but even that tells an important story. The original is housed in Vienna, after being sent to Europe in the early years of Spanish contact. According to historical records, it was part of the group of gifts Moctezuma gave to Hernán Cortés when the Spaniards first arrived in 1519, and it was later transferred to the Habsburg court. 

The headdress itself is an extraordinary example of Mexica featherwork, one of the most technically advanced art forms in Mesoamerica. It was constructed using long green quetzal tail feathers arranged in a sweeping arc, mounted onto a base decorated with turquoise, gold, red beads, and leather. Featherwork was not casual decoration. It was reserved for specialists who built feather mosaics by attaching feathers to a prepared base structure, layering materials to create both durability and visual depth. Feathers were markers of rank, power, and divine association. Only the highest levels of nobility and elite warriors were allowed to wear the most luxurious feather adornments. Clothing and adornment were part of a strict visual system that reinforced social order and identity.

What makes this object especially complex today is that it sits at the center of ongoing conversations about colonial history, ownership, and cultural heritage. The original headdress has been in Europe since the early 16th century, and it remains one of the most famous contested cultural artifacts connected to Mexico. Seeing the replica in the museum can feel bittersweet. It represents artistic brilliance and cultural identity, but also the moment when two worlds collided and reshaped the future of the Americas forever.

The Jade Bat Mask of Monte Albán

Moving into Room 7, containing the Oaxaca Galleries, you’ll find one of the most intrancing pieces in the museum, in my opinion, the Jade Bat Mask from Monte Albán. The mask comes from the Zapotec culture in Oaxaca and was discovered in the elite tomb complexes connected to Monte Albán, one of the most important ancient cities in southern Mexico. Masks like this were not decorative objects. They were funerary and ritual pieces, meant to accompany elite individuals into the afterlife or to be used in ceremonies connected to death, rebirth, and transformation.

The choice of a bat is incredibly intentional. Across Mesoamerica, bats were associated with night, caves, sacrifice, and the boundary between life and death. Caves were seen as entrances to the underworld and places of creation at the same time, and bats lived in those spaces. That made them natural symbols of transition, not evil or good, but powerful creatures that moved between worlds. In Zapotec belief systems, this connected bats to ideas of regeneration, ancestry, and the journey of the soul after death.

The material matters just as much as the animal symbolism. Jade was one of the most valuable materials in ancient Mesoamerica. It was associated with life force, breath, water, and fertility. It was harder to obtain than gold and was often reserved for rulers, priests, and the highest ritual contexts.

Olmec Colossal Head

Moving to Room 8, the Gulf Coast Galleries, step outside to the garden areas where you can see the enormous Olmec Colossal Heads. The giant heads are some of the oldest and most powerful human portraits in the entire museum. Carved from massive blocks of basalt, these sculptures date roughly between 1200 and 400 BCE. Each head is believed to represent a specific ruler rather than an anonymous figure.

When you stand in front of one, it does not feel symbolic or mythological. It feels personal. Like someone important is still watching the room. Each face is individualized, with different expressions, helmet styles, and proportions. One of the most remarkable parts of these sculptures is the effort it took to create them. The basalt was quarried from mountains sometimes more than 50 kilometres away and then transported across rivers and swamps without metal tools or wheeled vehicles. Some heads weigh over 20 tons. That level of labour tells you something about Olmec society.

The helmet-like headgear has led some researchers to connect the figures to ritual ball players or warrior elites, though most interpretations still lean toward them representing rulers. The Olmec are often called the “mother culture” of Mesoamerica, not because they were the first civilization, but because many core ideas appear here early.

Mictlantecuhtli, Lord of the underworld

Also found outside in the Gulf Coast Galleries is one of the most striking and widely recognized depictions of Mictlantecuhtli, the Mexica lord of the underworld. In this replica, it shows him seated on his throne with his arms stretched outward, as if reaching toward or emerging to meet the souls entering his domain. Rather than appearing passive or distant, this posture gives the impression that the deity is actively rising to commune with the dead who arrive in his realm. The imagery reflects the Mesoamerican understanding of death not as disappearance, but as a transition into another state of existence governed by powerful forces.

The original version of this scene is a clay sculpture and is considered one of the highest artistic and symbolic achievements of the Remojadas culture, discovered at the archaeological site of El Zapotal on Mexico’s Gulf Coast. The sculpture is especially powerful because it blends skeletal imagery with posture and presence, creating something that feels both terrifying and ceremonial at the same time.

The Tomb of Pakal the Great

Head down to the basement of the Maya Galleries, in Room 9, where you literally descend into the underworld. Here, you’ll find the Tomb of Pakal the Great, one of the most important archaeological discoveries in all of Mesoamerica. It received this designation not just for what was found inside, but for what it revealed about how the Maya understood life, death, and the universe. Pakal, whose full name was K’inich Janaab Pakal, ruled the Maya city of Palenque in the 7th century and oversaw one of its greatest periods of architectural and cultural expansion. When his tomb was discovered inside the Temple of the Inscriptions in 1952, it changed how archaeologists understood Maya kingship.

The most famous part of the tomb is the massive carved stone sarcophagus lid. At first glance, it looks incredibly complex, but the imagery tells a very specific story. Pakal is shown falling or descending into the underworld, while at the same time rising along the World Tree, the sacred axis that connects the underworld, the human world, and the heavens. Around him are symbols of the cosmos, ancestors, and divine forces. Some early interpretations misunderstood the image, but research now shows it represents rebirth. Pakal is becoming part of the cosmic cycle. A king transforming into an ancestor and divine presence.

The objects buried with Pakal reinforce this idea. He was buried wearing an elaborate jade death mask, along with jade jewelry, shells, and ritual items. Jade was especially important in Maya belief because it symbolized life force, breath, and eternal renewal. Covering the dead ruler in jade was not just decoration. It was protection and transformation. It prepared him for rebirth in the afterlife and reinforced his divine status even after death. The tomb itself was built deep inside the pyramid, reinforcing the idea of returning to the earth before rising again spiritually.

By the time you leave the museum, it stops feeling like you just walked through a collection of ancient objects and starts to feel more like you moved through thousands of years of living history. Each artifact, from massive imperial monuments to delicate ritual objects, tells part of a much bigger story about how people understood time, nature, power, life, and death. The Museo Nacional de Antropología is not a place you have to see all at once, and honestly, you shouldn’t try to. If you focus on the pieces that speak the loudest and give yourself space to absorb what you are seeing, you leave with something much more valuable than rushing through the entire space, trying to see it all.

Happy Travels, Adventurers

The post Ultimate Self-Guided Tour of the Museo Nacional de Antropología CDMX first appeared on The Creative Adventurer.

Table Of Contents

1. Understand the Why Behind the Fatigue
2. Be Picky with Your Picks
3. One Museum a Day Rule
4. Book Your Tickets in Advance
5. Be Selective with Audio Guides
6. Curated Playlists
7. Focus only on what truly interests you
8. Take Breaks
9. Don't Always Start at the Beginning
10. Don’t Read Every Plaque
11. Stand and walk
12. Visit during Off-Peak Hours
13. Comfort is Key
14. Set your own time limit
15. Go with someone enthusiastic
16. Keep a Journal
17. Eye-Spy Game

Understand the Why Behind the Fatigue

Museum fatigue isn’t just a fancy buzzword; research going back to the 1920s has shown that most people’s interest begins to fade partway through a visit. It’s what happens when your brain is inundated with information, visuals, and sensory input for hours on end. Factors like repetitive themes, excessive information, or even the way exhibits are designed can lead to what psychologists call “wear-out.”

You might find yourself tuning out, skimming past exhibits you would have otherwise loved, or even feeling irritable. If you’ve ever travelled with a partner or friend, I think we’ve all been there when you find yourself falling out halfway through the museum and not knowing why. Well, now you do! Dating back to the 1st century CE, even Pliny the Elder, in his writing, noted that the endless marvels in Egypt’s Labyrinth could “dull one’s sense of wonder”.

Be Picky with Your Picks

You don’t need to see everything. In fact, you shouldn’t. Before I even step foot in a museum, I look at a map or guide and pick 5-10 things I really want to see. That’s it. It might be a specific painting, an ancient artifact, or even a room I’ve heard whispers about. The rest? Bonus. Prioritizing like this avoids overwhelm and ensures the experience feels purposeful rather than punishing. It can also help you plan out the structure of your visit and will help prevent aimless wandering or backtracking.

One Museum a Day Rule

I know that when you’re short on time and think you might never be back in that city or country, you feel the urge to see everything you can in as little time as possible. But as much as you might feel this is a good strategy, the truth is, everything is going tos tart blending together, and you won’t end up truly remembering anything. I try to advise people to stick to only visiting one museum or art gallery a day. Break it up with a long lunch and a cultural activity to give your brain a break to rest, relax and absorb better what you just saw.

Book Your Tickets in Advance

There’s nothing more deflating than arriving at a museum excited, only to be met with a snaking queue stretching around the block. Long waits sap your energy before you’ve even crossed the threshold, and can leave you feeling impatient and irritable by the time you finally get inside.

Booking timed-entry tickets online is one of the simplest ways to preserve both your time and mental stamina. Many major museums now offer advance reservations, often with dedicated entry lines or time slots that help avoid crowds. Not only does this streamline your experience, but it also gives you more control over your schedule, especially useful if you’re juggling multiple sights in a single day. Starting your visit feeling calm and unhurried makes a big difference in how much attention and enjoyment you’re able to bring into the galleries.

Be Selective with Audio Guides

Audio guides can be a brilliant way to deepen your understanding of a collection, offering context, storytelling, and behind-the-scenes insights that bring artworks and artifacts to life. But they can also become overwhelming if overused. Hours of constant narration, especially in a museum that’s already packed with visual and written information, can lead to cognitive overload and fatigue.

Instead of trying to listen to every track, use audio guides intentionally. Start with an introductory overview to orient yourself, then choose highlights that truly interest you, whether it’s a favourite artist, a period of history you’re curious about, or a specific object that catches your eye. This keeps your experience focused and enjoyable, rather than turning your visit into an endless lecture. And if you’re visiting with someone, don’t forget to take out your headphones every now and then. Sharing your thoughts and impressions in real time often leads to some of the most memorable moments in a museum.

Curated Playlists

One of my personal favourite strategies for beating museum fatigue, especially in busy, echoing institutions like the Uffizi or the British Museum, is bringing along a custom playlist. I curate it in advance to suit the mood: ambient instrumentals for reflective viewing, dreamy classical pieces for slow wandering, or even the occasional moody soundtrack. When I visited Versailles, I downloaded the ‘Marie Antoinette’ Sofia Coppola movie soundtrack and found it absolutely perfect for exploring the space, and it allowed me to feel like I was inside the movie and going back in time rather than focusing on the hordes of tourists chatting around me.

Putting on headphones helps me tune out the crowds, the clatter of tour groups, and the thrum of footsteps, letting me settle into a more meditative, focused state. It acts like a sonic filter, helping me see better by quieting everything else. Sometimes, the right song can make your observations all the more introspective. I urge you not just to play anything, but really take your time to select something special for your visit, as then this music will always remind you of your visit!

Focus only on what truly interests you

Many travellers fall into the trap of chasing the so-called “must-sees”, famous masterpieces they feel obligated to view, rather than pieces that genuinely speak to them. It’s easy to get swept up in the pressure to check off the Mona Lisa or The Night Watch, even if those works don’t particularly move you. But museum visits become far more meaningful, and less draining, when you skip the crowd-pleasers and follow your own curiosity instead.

Take Breaks

It sounds obvious, but you’d be amazed at how many of us power through hunger and fatigue like we’re on a cultural treadmill. When you’re visiting a museum like the Louvre or the Museum of Anthropology, which sprawl kilometres, you really need to be sure to take breaks. Don’t be scared to sit down, have a coffee, and if you can, go outside for some fresh air. I know museum cafés aren’t exactly budget‑friendly, but if you can swing a coffee, even a short pause to sip something warm or refreshing can help.

Depending on the museum, you may also be able to bring in food or drinks, which you can enjoy in the café even if you didn’t buy them there. You can usually check the rules about this on museum websites, but very often, museums are family-friendly and pretty lenient when it comes to picnic lunches.

Breaks are more than just rest; they’re a way to refresh your senses and reset your attention span. I try to schedule a pause every 45 minutes. Research has revealed that most people stop fully absorbing information after 30–45 minutes, with average viewing times per artwork dropping as you progress deeper into a gallery. It’s not that we aren’t interested; it’s that our brains are full. So take a minute to sit on a bench, grab a sip of water, or spend a moment simply not looking at anything.

Don’t Always Start at the Beginning

We all instinctively start at the beginning. But what if you didn’t? Some of my best museum experiences have come from flipping the script and diving into a side gallery first that interests me more than the first exhibition placed in the front entrance. By doing this, you’ll often find fewer crowds since the start of the museum can be a bottleneck. This is when people have the most energy and attention, and they usually move pretty slowly at the start. Whereas towards the end, people are exhausted and are just breezing past, trying to get out. Interestingly, research in zoo environments (which share similarities with museum design) shows that reversing traffic flow can dramatically shift visitor engagement.

Don’t Read Every Plaque

Look, I love me some context, but reading every single wall label can turn a leisurely visit into a slog. Instead, I focus on one or two pieces per room that really speak to me, and then dive deep. Sometimes I’ll snap a quick photo of the label to read later over lunch. Reflecting on my instant interpretations versus the official story.

Stand and walk

A handy physiological tip: standing still for long stretches in galleries can actually tire you out more than walking. Short strolls and “moving breaks” help keep your circulation flowing and delay that sluggish, heavy-legged feeling. If there’s a piece you’re especially drawn to and want to spend time with, see if there’s a bench nearby where you can sit and absorb it slowly. No bench? Try circling the artwork instead, observe it from different angles, step in close for the details, then pull back for the full effect. Not only does this keep your body in motion, but it also opens up new perspectives and interpretations with every step.

Visit during Off-Peak Hours

Whenever possible, I go early or late and try my best to always avoid weekends and holidays. The first hour after opening and the last hour before closing are usually calmer, quieter, and less chaotic. Some museums also offer evening entry or special late-night events, which can feel less rushed and more intimate.

Comfort is Key

Pack for museum days like you would for a hike: comfortable shoes, light layers, and minimal baggage. I always check the museum’s bag policy ahead of time to avoid surprises at the door or having to lug around gear I could’ve left behind. Often, when museums don’t let you bring anything more than your phone or camera inside, I find this a blessing in disguise as it totally frees you up to relax and enjoy the space without being encumbered by carrying your coats or a heavy knapsack. Even if coat checks cost a few dollars, I think it’s worth it for the freedom I feel.

Set your own time limit

Some people swear by a self‑imposed rule: spend, say, two or three hours in a museum, or in a section that intrigues you, then call it. Don’t feel the guilt, just remember that setting these limits will actually help you maximize your enjoyment. Often, I try to book a restaurant reservation to ensure I have a reason to leave, so I stick to these self-imposed limits.

Go with someone enthusiastic

Something that’s made a huge difference for me is visiting museums with someone who’s genuinely passionate about the subject. Their enthusiasm can be contagious, turning the whole experience into something far more dynamic and energizing. Instead of just passively looking, you’re having conversations, bouncing ideas off each other, and noticing things you might have missed on your own. On the flip side, I think we’ve all made the mistake of dragging along someone who isn’t interested, and their boredom can subtly drain the joy from your own visit.

Keep a Journal

If you are travelling solo, or don’t have anyone to bring to a museum you are intensely keen on, one piece of advice is to bring a little notebook and jot down your thoughts, impressions, and favourite pieces. It helps me stay engaged and gives me something to look back on, especially when details start to blur. A doodle of a sculpture or a few lines describing a painting can anchor the memory in a way a thousand photos never will.

Eye-Spy Game

One of my favourite ways to keep kids engaged in museums or galleries is by turning the visit into a visual scavenger hunt. I have them choose a simple motif, like a bird, a feather, a heart, or even just a specific colour, and challenge them to spot it in as many artworks or objects as they can. It’s a playful, accessible way to help young visitors stay curious, especially if they’re too young to grasp the historical or cultural weight of certain pieces. They light up with excitement every time they make a discovery, and it keeps their eyes (and minds) actively searching.

What’s even better is using those findings to spark conversations: why is that symbol represented differently here? What might it have meant in another time or culture? And while I originally came up with this idea for kids, I’ve found it’s just as fun for adults. We’ll each pick something to look out for, snap photos along the way, and share them later. It’s always fascinating to see what others noticed that you completely missed.

Museum fatigue is real, but it doesn’t have to steal your joy. With a little planning, a bit of grace for your limits, and a curious heart, you can walk away inspired rather than exhausted.

What are your best tips for avoiding museum fatigue? I’d love to hear how you keep your curiosity sharp and your legs from falling off by noon!

Happy Travels, Adventurers

The post Museum Fatigue Is Real, Here’s How to Beat It first appeared on The Creative Adventurer.

Table Of Contents

1. Map of Alternative Museums in Amsterdam
2. Museum Vrolik
3. Dutch Piano Museum
4. Amsterdam Houseboat Museum
5. Dutch Funeral Museum
6. The Mouse Mansion
7. Embassy of the Free Mind
8. Verzetsmuseum Amsterdam
9. Museum Het Schip
10. Our Lord in the Attic Museum
11. Allard Pierson Museum

Map of Alternative Museums in Amsterdam

Museum Vrolik

As in any city worldwide, the first museum I try to uncover is those medical history museums. Ever since I was young, I had a fascination with medical oddities. When I visited the Florence La Specola Anatomical Museum, I was hooked on these fantastic museums which feature pathological specimens. The Museum Vrolik Academic Medical Center isn’t for the faint-hearted. But is one of the most extraordinary private collections of anatomical anomalies. The museum is named after Gerard Vrolik and his son Willem, whose collection is now on display. The exhibition included normal anatomy of humans and animals but also pathological anatomy and congenital malformations. 

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Museum Vrolik is today a part of the Amsterdam Univerity Department of Anatomy, Embryology and Physiology. The collection includes 10,000 specimens of anatomical preparations, bones, skulls and skeletons of humans and animals from the late 18th century, the 19th century and the early 20th century. The museum aims to promote public understanding of the structure and development of the human body.

A highlight of your visit is undoubtedly the guided tour, where knowledgeable curators bring the collection to life. They share fascinating anecdotes about the artisans who crafted these pianos and the musicians who once played them. If you’re lucky, you might even catch one of the live demonstrations, where talented pianists showcase the distinct voices of these historical instruments.

Beyond the pianos, you’ll find an array of musical paraphernalia, from vintage sheet music to piano-building tools, offering deeper insights into the world of piano manufacturing and performance. The museum also hosts regular concerts, inviting visitors to experience these majestic instruments in their full glory.

Dutch Piano Museum

Nestled in the heart of Amsterdam’s charming Jordaan district, the Dutch Piano Museum is a treasure trove for music enthusiasts and history buffs alike. As you step into this quaint, historic canal house, you are greeted by the rich sound of piano music that fills the air, setting the tone for an unforgettable journey through centuries of piano history.

The museum’s intimate, labyrinth-like layout unfolds across multiple levels, each corner revealing a new facet of the piano’s evolution. You wander through the collection, marvelling at the intricate craftsmanship of grand and upright pianos, harpsichords, and fortepianos, many of which date back to the 18th and 19th centuries. Detailed placards tell the story of each instrument’s unique place in musical history, whether it’s an elegantly carved 19th-century Broadwood or an early 20th-century Steinway.

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A highlight of your visit is undoubtedly the guided tour, where knowledgeable curators bring the collection to life. They share fascinating anecdotes about the artisans who crafted these pianos and the musicians who once played them. If you’re lucky, you might even catch one of the live demonstrations, where talented pianists showcase the distinct voices of these historical instruments.

Beyond the pianos, you’ll find an array of musical paraphernalia, from vintage sheet music to piano-building tools, offering deeper insights into the world of piano manufacturing and performance. The museum also hosts regular concerts, inviting visitors to experience these majestic instruments in their full glory.

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Amsterdam Houseboat Museum

The Amsterdam Houseboat Museum is a delightful peek into the unique culture of Amsterdam’s canal living. As you step onto the gangway leading to the floating museum, gently bobbing in the Prinsengracht canal, you are immediately plunged into the reality and novelty of this distinctive living experience. The museum is housed in the Hendrika Maria, a lovingly restored freighter transformed into a charming houseboat.

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Exploring the Houseboat

Once inside, you’re greeted by a warm and cozy retro interior that transports you back to the 1960s, when the boat was home to a Dutch family. The living quarters retain their original character with authentic furnishings and decor. You find yourself moving from room to room, marvelling at the clever use of space and the thoughtful design that makes life aboard so comfortable.

You’ll explore the living area and compact kitchen, with vintage appliances and even see cookware from a bygone era. Further down, you can enter the cozy bedroom with a built-in bed and the children’s bunk beds tucked neatly into the wall. There’s even a tiny bathroom showcasing the ingenuity of space management.

Informational panels and photographs throughout the boat provide fascinating insights into Amsterdam’s houseboat culture. And you’ll learn how the city’s canal boats, originally used as cargo vessels, were gradually repurposed into floating homes due to the post-war housing shortage. After touring this houseboat, you might be convinced to want one for yourself!

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Dutch Funeral Museum

A visit to the Dutch Funeral Museum, or Museum Tot Zover, is an immersive exploration into the intriguing world of funeral customs and rituals in the Netherlands. Located in Amsterdam’s serene De Nieuwe Ooster cemetery, the museum provides a fascinating journey through the cultural history of death and remembrance.

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As you enter the museum, the tranquil surroundings of the cemetery set the tone for a reflective experience. The sleek, modern building design contrasts beautifully with the rich historical and cultural content of the exhibits. I’ve always loved the saying that we can learn more about people’s lives by looking at how they treat their dead. And this is the perfect encapsulation of that!

Layout of the Museum

You can marvel at 19th-century mourning attire, learn about the evolution of Dutch burial traditions, and explore the symbolism of floral arrangements in funeral ceremonies. The exhibits also touch on various global funeral practices, providing a broader perspective on death and remembrance. Each item is thoughtfully displayed, often accompanied by personal stories that breathe life into these solemn relics. 

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In addition to the permanent collection, the museum frequently hosts thought-provoking temporary exhibitions that explore various themes related to mortality, such as death in art, the role of technology in memorialization, and cross-cultural funeral traditions.

A visit to the Dutch Funeral Museum is enlightening and a profoundly human experience that offers a poignant perspective on how we live and say goodbye. After touring the museum, be sure to walk through the cemetery to reflect on what you learned and appreciate the beauty of headstones throughout the cemetery.

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The Mouse Mansion

In the heart of Amsterdam’s Jordaan district, one of the most whimsical wonderlands, the Mouse Mansion (Het Muizenhuis) hides. This charming attraction is a unique blend of shop, studio, and miniature museum that brings the enchanting world of Het Muizenhuis (The Mouse Mansion) to life. As you step through the bright, cheerful corner entrance, you’re greeted by various vibrant displays showcasing the intricately detailed world of Sam and Julia, the two beloved mouse characters created by Dutch author and artist Karina Schaapman. The shop floor is brimming with shelves of books, toys, and delightful DIY kits, inviting visitors to dive into the creative world of The Mouse Mansion.

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The world of Sam and Julia

The real magic, however, lies beyond the retail space, where a small staircase leads to the studio and exhibition area. Here, you’ll find the original, hand-crafted miniature models from Schaapman’s books, where every room is a meticulous work of art. The sprawling Mouse Mansion stretches over several levels and is filled with charming details: tiny furniture, cleverly designed props, and beautifully decorated rooms that tell the everyday stories of Sam and Julia’s adventures. Wandering through the exhibition, you’ll encounter a variety of themed rooms and scenes, from cozy kitchens and bustling markets to adventurous sea voyages and vibrant carnivals. Each scene has whimsical details, leaving children and adults marvelling at Schaapman’s incredible craftsmanship.

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Plus, visitors can peek into the workshop area to see where new miniature sets are being made and witness the creative process behind this intricate world. The studio often hosts creative workshops and events where children and adults can try making their own miniature Mouse Mansion pieces. If you’ve fallen in love with these incredible mice, you can buy yourself or a loved one a craft kit that enables them to create their own Mouse Mansion! This is one of the most perfect souvenirs for any creative person in your life (or for yourself!)

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Embassy of the Free Mind

The Embassy of the Free Mind in Amsterdam is a fascinating exploration of philosophy, spirituality, and human thought. Situated in the historic Huis met de Hoofden (House with the Heads) on the Keizersgracht Canal, this unique museum offers a journey through centuries of wisdom and esoteric knowledge. The beautifully preserved 17th-century canal house and ornate facade featuring six sculpted heads immediately grab your attention as you approach, hinting at the mystical treasures inside. 

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The Embassy of the Free Mind houses a remarkable collection of rare books, manuscripts, and art centred around free thought, hermetic philosophy, and spiritual knowledge. The journey begins with an introduction to hermetic philosophy, showcasing beautifully illustrated alchemical manuscripts, rare hermetic texts, and symbols that reveal the ancient search for wisdom. Discover mystical traditions from around the world, including Christian mysticism, Kabbalah, and Sufism. Artifacts and manuscripts illuminate the diverse paths to spiritual enlightenment. And delve into the secretive worlds of the Rosicrucians and Freemasons, with manuscripts and symbols offering a glimpse into their esoteric teachings.

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The Library and Study Room

A highlight of the visit is the impressive library, home to the Bibliotheca Philosophica Hermetica, a collection of over 25,000 works on mysticism, hermeticism, and spirituality. Visitors can peruse rare manuscripts and facsimiles in the study room, where comfortable seating and ambient lighting create an inviting atmosphere. This place is a captivating exploration of humanity’s quest for meaning and enlightenment. It’s a sanctuary for curious minds, offering a serene and inspiring escape from the ordinary and inviting you to dive deep into the world of free thought!

Verzetsmuseum Amsterdam

The Verzetsmuseum Amsterdam, or Dutch Resistance Museum, is an eye-opening journey into the history of the Dutch resistance during World War II. Located near Artis Zoo, in the Plantage district, this museum vividly brings to life the stories of those who resisted Nazi occupation, offering a poignant and educational experience.

The permanent exhibition is meticulously curated, leading visitors through a chronological narrative that reveals the complex moral dilemmas faced by Dutch citizens during the Nazi occupation. The journey begins with a look at the Netherlands in the 1930s, illustrating the country’s socio-political climate before the war. Through photographs, newsreels, and interactive displays, you get a sense of the nation’s neutrality and diverse society. Moving into the occupation era, the exhibits show how daily life changed drastically under Nazi rule. You’ll read personal and touching stories of ordinary citizens, Jews, and resistance fighters brought to life through personal artifacts, diaries, and photographs.

Propaganda and Control

Displays of Nazi propaganda and the gradual imposition of oppressive policies, including curfews, censorship, and anti-Semitic measures, bring this period to life. Interactive panels and videos explore citizens’ moral dilemmas and provide an in-depth look at the various forms of resistance that emerged, from underground newspapers to sabotage operations. You’ll find artifacts such as fake IDs, ration cards, and hidden radios that demonstrate the ingenuity of the resistance.

A visit to the Verzetsmuseum Amsterdam is a profoundly moving and educational experience that illuminates the complexities of war and the resilience of the human spirit. It’s a must-visit for anyone interested in history, providing a powerful reminder of the courage it takes to stand up against oppression.

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Museum Het Schip

If you’re an architecture buff, visiting Museum Het Schip in Amsterdam is a fascinating exploration of Amsterdam’s School of Architecture. It is located inside a historic building designed by architect Michel de Klerk. The structure is a masterpiece of early 20th-century architecture and is considered one of the most iconic examples of the Amsterdam School style.

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Guided Tour and Permanent Exhibition

The building’s striking and whimsical facade immediately grabs your attention, characterized by its undulating brickwork, ornate details, and distinctive tower. The Het Schip (The Ship) looks more like a work of art than a social housing block. The best way to experience this building is on a guided tour. These comprehensive guides reveal the history and significance of Het Schip and the Amsterdam School movement.

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The permanent exhibition, housed in the former post office, is a beautifully preserved space that retains its original stained-glass windows and intricate details. The exhibition showcases detailed architectural models, original blueprints, archival photographs, and decorative elements. Whether you’re an architecture enthusiast or simply curious about the city’s heritage, Museum Het Schip is an excellent alternative museum to explore in Amsterdam.

Our Lord in the Attic Museum

Our Lord in the Attic Museum, or Museum Ons’ Lieve Heer op Solder, is one of Amsterdam’s most unique and intriguing museums. Hidden in a historic canal house in the heart of the Red Light District, this 17th-century clandestine church offers visitors a remarkable glimpse into the Dutch Golden Age’s religious history and architectural ingenuity.

From the outside, the museum is just another elegant canal house along the Oudezijds Voorburgwal. The distinctive red shutters and historic architecture immediately draw you in. Upon stepping inside your journey begins with a glimpse into the elegant living spaces of the wealthy Catholic merchant Jan Hartman, who owned the house and built the secret church. The house is decorated in a 17th-century style, with dark wood furniture, a Delft tile fireplace, and rich textiles. The windows overlook the canal, providing a serene setting.

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Hidden Attic Church

As you ascend to the top floor, suddenly, the narrow stairway opens into a spacious, light-filled church. Our Lord in the Attic was built in the 17th century as a hidden place of worship for Catholics during a time of Protestant dominance in the Dutch Republic. Despite Amsterdam’s relatively tolerant attitude toward religious minorities, Catholics were not allowed to worship publicly. Wealthy merchant Jan Hartman purchased a canal house in 1661 and converted its upper floors into a clandestine church, completed in 1663. This attic chapel provided a safe haven for private worship and remains a symbol of religious resilience in Amsterdam.

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Wooden pews and a small organ face the richly decorated altar, adorned with gilded statues, paintings, and a central crucifix. The main altar features a large painting by Jacob de Wit of the Baptism of Christ, flanked by Mary and John the Baptist statues. The tiny sacristy houses liturgical garments and church relics, while the confessional booths reflect the Catholic practices of the era. Whether interested in religious history or architecture or seeking an unusual experience, this museum is a great alternative.

Allard Pierson Museum

A visit to the Allard Pierson Museum in Amsterdam is a captivating journey into the ancient world. Visitors can explore a diverse collection of artifacts from classical civilizations. Located in the historic city center along the Oude Turfmarkt canal, the museum, part of the University of Amsterdam, showcases treasures highlighting the rich heritage of ancient cultures.

The museum’s permanent collection is organized thematically and chronologically, providing a comprehensive look at ancient civilizations. The journey begins with Mesopotamia and the Near East, where visitors can find artifacts from ancient Mesopotamia, Persia, and Anatolia, including cuneiform tablets, intricately carved cylinder seals, and ornate pottery.

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World Collections

The Egyptian Antiquities section displays impressive mummies, richly decorated sarcophagi, and an array of funerary items. The mummified cats and crocodiles illustrate the Egyptians’ reverence for their gods, while intricate canopic jars, amulets, and shabti figurines reveal ancient Egyptian beliefs about the afterlife.

Moving on to the Greek and Roman collections, visitors can explore the beauty of these influential cultures through artifacts such as beautifully painted vases, amphorae, kylixes, bronze and marble sculptures, colourful mosaics and delicate Roman glassware. The Etruscan section features distinctive funerary urns, bronze mirrors, and decorative pottery, while the Cyprus and Asia Minor collection includes terracotta figurines, pottery, and religious artifacts. The museum also provides a glimpse into the transition from ancient to medieval Europe, with early Christian manuscripts, religious relics, and illuminated texts illustrating this fascinating period. Visiting the Allard Pierson Museum is a captivating exploration of ancient civilizations. It provides a rich and educational experience for history enthusiasts, students, and curious travellers alike. 

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So there you have it, your ultimate guide to the best alternative museums in Amsterdam! Whether you’re uncovering clandestine history at Our Lord in the Attic, immersing yourself in esoteric wisdom at the Embassy of the Free Mind, or marvelling at the architecture of the Amsterdam School at Museum Het Schip, these hidden gems offer a unique and refreshing take on the city’s rich cultural scene. So, step off the beaten path next time you’re in Amsterdam and dive into one of these quirky, fascinating museums. Trust me, you’ll walk away with stories worth sharing and memories to treasure!

The post Ultimate Guide to the Best Alternative Museums in Amsterdam first appeared on The Creative Adventurer.

If you’ve visited Prague, there is no doubt you will have come across Mucha’s work. He is one of the most prolific Czech painters in the world, and the city LOVES his paintings and posters. They seem to appear on every street corner and postcard in Prague. His famous prints have become so popular they are often sold at University Poster fairs and cover the walls of hundreds of dorm rooms around the world.

Mucha’s Art Nouveau

His style of art is quintessentially Art Nouveau. Most of his more commercial works feature images of beautiful young women in flowing dresses surrounded by lush flowers. He kept the tones for these advertorial pieces in pale pastels, typical of the art nouveau style. But the ‘Slav Epic’ is something completely different. A departure from his commercial work and something genuinely personal to the artist. If you are interested in learning more about the Slavic people and their history, this is an immersive and exciting way to do it!

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Where to Find the Artwork

I am SO EXCITED to finally get to update this blog with the new locations for the Slav Epic. When I visited Prague in 2015, I didn’t know I would be one of the last people to see the Slav Epic in person. I caught the exhibition just a few months before it closed. Until the end of 2016, the Slav Epic was housed in the National Gallery’s Veletržní Palace in Prague.

Moravský Krumlov

Originally, the canvases were exhibited in the city of Moravský Krumlov. They were displayed in the castle and remained a precious treasure of the town for over 50 years. Then, the city of Prague contested that the painting had been left to them by Mucha in the first place. And they shouldn’t be displayed so far away from where most tourists visit. But Prague had no space suitable for showing all these incredibly large works of art. You almost need an airport hanger! The city of Moravský Krumlov felt the paintings needed an appropriately regal and elevated space. They wanted them to be displayed inside the old palace of Moravský Krumlov, where they felt like they belonged. 

Political Battle over the Paintings

In 2012, the city of Prague eventually won the right to display the works. They found a temporary space for them in the National Gallery’s Veletržní Palace. But this space was only to house them for four years. After 2016, the paintings were boxed up, and a political battle between Prague and Moravský Krumlov erupted again. No one could agree on where they would be displayed. They travelled to Japan for international exhibitions, but when they returned, they sat in storage.

Finally, in 2020 the Prague City Council decided to return the paintings to the château in Moravský Krumlov. They will be on display here until 2026. After returning to their original home, the canvas exhibition spaces were repaired to better showcase these incredible works of art.

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Access & Admission 

As the exhibition takes place in Moravský Krumlov, most visitors will arrive via Prague, Vienna or nearby Brno.

The train from Prague to Moravský Krumlov takes about 4 hours (with one transfer.) After arriving at the stations, you can hop on a bus which will take you to the entrance to the castle. If you are travelling from Vienna, the journey is slightly shorter, only 3 hours on the train. The shortest trip will be from Brno, as it is only 1 hour on the train.

Tickets

It’s best to purchase tickets in advance to ensure you won’t be disappointed that they are sold out when you arrive.

Prices: Adults 250 CZK, Seniors 65+ 170 CZK, Students 10-25 years old 150 CZK

Hours

January–May:  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
June–August:  9:00 a.m.–5:00 p.m. (last entry at 4 p.m.)
September–December  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
all year round: closed on Mondays

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The Size Paintings

Seeing the paintings for the first time in person, you’re immediately awestruck by the sheer size of these canvases. They feel more like walled frescos than simple pictures. Moments are frozen in time, captured in life-sized (and in some cases, larger than life) works of art. Each of the paintings depicts the history of the Slav people, their civilization, wars, and celebrations. The next thing you’ll notice about these paintings is how the people represented differ from Mucha’s other works. These are not the languid, sensual forms of Mucha’s commercial art nouveau posters. These deftly painted scenes profoundly portray the emotions and collective journey of the subjects in each brushstroke.

About Alphonse Mucha

Alfons Maria Mucha, although better known internationally as Alphonse Mucha, was a Czech painter born in 1860. He born in the small town of Ivančice in southern Moravia. Mucha showed an aptitude for painting very early on. He received his secondary education at the Cathedral of St. Peter and Paul in Brno. He was accepted into the arts school firstly as he was also an accomplished singer. Mucha was famously quoted as saying, “for me, the notions of painting, going to church, and music are so closely knit that often I cannot decide whether I like church for its music or music for its place in the mystery which it accompanies.” The dramatic scenes in many religious paintings undoubtedly influenced the art he would later go on to make. 

Mucha in Vienna

At 19 years of age, Mucha travelled to Vienna. There he became an apprentice scenery painter for theatre companies. His flair for the dramatic would continue to be influenced through these explorations. After his apprenticeship, Mucha moved back to Moravia. There he was employed by Count Belize to create portraits, decorative art and lettering for tombstones. Belasi saw Mucha had real talent. He wasn’t just an everyday artist. Belasi brought Mucha with him on his trips to Venice, Florence and Milan. There he was able to introduce him to many more professional artists.

Mucha in Paris

Eventually, Mucha moved to Paris in 1888 and started to professionally study art at the Académie Julian and Académie Colarossi. These schools specialized in studying female nudes and figurative paintings. As well as historical and religious art.

While in Paris, Mucha lived inside the Slavic community boarding houses who famously sheltered struggling artists. It was perhaps living within this community that endowed Mucha to the Slavic people even more. Mucha’s first large client was the Central Library of Fine Arts. It was from here that his career as an illustrator and graphic artist took off. He successfully made a life for himself in Paris for many years, creating commercial art. These printed works featured his iconic attractive sets of women, in flowing gowns and floral backdrops.

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History of the Slav Epic

At the age of 43, Mucha returned to his homeland of Moravia. There, he devoted himself to painting a series about the history of all the Slavic people. Mucha’s inspiration for the series first started when he was researching another assignment. While studying and travelling through the Balkans, he was genuinely struck by the hardships and sufferings of the Slav people. He also noted there was no real documentation of these people’s stories in art. Mucha decided it would be his final task to bring these stories to life with paint.

Although he secured a financier for the giant undertaking, this was more of a passion project for the artist. Sitting in his studio, surrounded by this enormous canvas, Mucha painted the past into reality. The Slav Epic depicts in chronological order the mythologies and histories of the Czechs and Slavic people.

Romanticism

Many of the themes in this series fall under romanticism. Romanticism is characterized by its emphasis on emotion and individualism and the glorification of the past and nature. In these paintings, sensations are portrayed on people’s faces in a far more sophisticated way than before. Looks of horror, terror, awe and apprehension started to round out the range of human emotion in art. Previously emotion had been stunted between pure joy or sadness. Romanticism also elevated folk art, which had previously been thought of as a lesser form of art.

It took Mucha over 14 years to complete the series. In 1928, on the 10th anniversary of Czechoslovakia’s independence, Mucha presented the collection of paintings to the Czech nation. He considered it his most important piece of work he ever created. The Czech Republic cherished the gift. It was like nothing else they had ever seen before. Notably, during World War II, the Slav Epic was one of the first things hidden away before the Nazis took hold of the city and seized works of art.

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The Slavs in Their Original Homeland

The series is set chronological and starts with the painting entitled “The Slavs in their Original Homeland,” painted in 1912. In the 4th to 6th century, the Slavic people lived largely in unpopulated, rural areas, which often were considered marshes. Because there was no national army to protect these farmers, their lands were invaded time and time again.

In this painting, you can see a mother and child hiding in the bushes. Behind them, their village is being burned to the ground. The red fires glowing in the distance to the left of the frame. Their eyes are so vulnerable and seem to cry out to the viewer for help. They look right into your soul. This is a trope that Mucha uses throughout almost the entirety of the series.

In the top corner of the piece, you can see three figures floating in mid-air. The largest of the figures, a priest, holds his hands outstretched. In the same position as Jesus on the cross. The two on either side of him are a young boy and girl. The boy, dressed in blood-red robes represents war. The girl on the right, dressed in white represents peace. The two figures seem to foreshadow the future of the Slavic people. Their history is marred by many wars but also by the hope for peace.

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Colours in the Slav Epic

The colours used in this painting are significant in the series and also in comparison to Mucha’s other works. Most of Mucha’s artworks are pale and delicate. In this series, we find there is definitely a dark tone to his work. Colours here are not just used haphazardly. He uses colour to his advantage and to help tell the story using symbolism.

Many of the paintings throughout the series have two separate planes of existence set in the same scene. Often mythological beings are seen floating above the historic action below. This is Mucha’s way of combining the essential mythologies of the Slavic people to past events.

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 The Celebration of Svantovít 

Sventovit is a Slavic deity of war, fertility and abundance. Sventovit is depicted as a four-headed god with two heads looking forward and two looking back. These four directions are positioned like a compass, looking north, south, east and west. The different directions they point also symbolize the different seasons of the year. Mucha’s next piece, “The Celebration of Svantovít” features the god Sventovit is located in the upper right portion of the painting. The god’s head is just cut off on the top of the canvas. Almost as if we portals cannot look upon him. But we can see some of the branches which sprout forth from his head. He is surrounded by other celestial beings painted in an almost opalescent quality.

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Arcona

Before the 1200s, the Slavs headed westwards and built a temple to Sventovit in the city of Arcona. As Sventovit was also the god of the seasons the Slavs would have a grand celebration every year during the autumn. The festival was obviously held at this temple. Pilgrims would come from all over Europe to celebrate with them here.

In 1168 the Danes attacked the city and destroyed the temple in their conquest of the east. We can see the Danes in the upper left corner of the canvas. They are represented by the fearsome-looking warriors being lead by a pack of wolves.

Celebration

Below the celestial scene, the Slavs are preparing for their autumnal celebrations. The Slavs and pilgrims are all dressed in white, a symbol of purity. Only one character seems to be aware of the incoming attack. A mother holding her child in the center of the frame looks out at the viewer. She is almost begging the viewer to take notice. And save them from the horrors which are about to happen to the peaceful pilgrims and Slavs.

Introduction of the Slavonic Liturgy in Great Moravia

In this painting, the “Introduction of the Slavonic Liturgy in Great Moravia” we have a lot going on. So let’s study the earthly plane first. The scene takes place in Velehrad around the year 880. In the lower right corner of the painting, we see a ray of light shining down. A deacon, with his back turned to the audience, reads out an edict. Sitting on his throne awaiting the reading is Prince Svatopluk of Greater Moravia. The deacon is reading out the announcement that Pope John VIII has officially sanctioned the use of Slavic liturgy.

To the left of the deacon, almost hidden behind a small tree, stands Methodius. Two novices are seen kneeling by his side. The task of translating the Bible into the Slavic language was a job upon which Methodius staked his life. And it would make him a saint. Methodius, and his brother Cyril, both helped with this translation of the Bible. The Pope also made Methodius archbishop for his achievements. In the middle ages, having a bible in your native language was a way of ensuring its legacy.

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Slavic Language

But not everyone is happy to hear this news. The two German priests surrounding Svatopluk, whose faces are shaded and almost hidden in darkness, can barely conceal their anger. These Germans had been making their way through Moravia in the hopes of eliminating the Slavic language for good. They wanted to force the Slavs to learn the German language in order to practice Christianity.

In the very front of the foreground, once more staring out at the audience, stands a young man with his fist clenched. He raises his other hand in the air, which holds a large ring. The circle symbolizes this moment of strength in unity for the Slavic people.

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Boris of Bulgaria and Igor of Russia

Floating above this scene, we have members of the divine realm. In the upper left corner, we can see the Pope sitting on his throne. Beside him, sits the Byzantine emperor, who was the head of the Orthodox Church. Surrounding the great religious leaders Slav who suffered forced Germanification, who now cry out for comfort. In the center of the ethereal world, we see stylized images of Methodius and Cyril as Saints. To the very right, we have the portraits of Boris of Bulgaria and Igor of Russia and their wives. These rulers helped spread the Slavic Bible across the country which helped strengthen their rule and their culture.

Tsar Simeon I of Bulgaria 

Much as the Bible was important in the perpetuation of the Slavic language, art and literature were also significant in ensuring a legacy for this nation. When Methodius died, the Archbishop of Moravia, Prince Svatopluk, under the influence of his German priests, withdrew his support for the Slavic Bible. With this exodus, he also exiled all of Methodius’ followers out of Moravia. They were scholars without a place to call home. Methodius had died and his successor was not recognized by the Pope and therefore had no power. His followers felt they were the only ones left who could continue Methodius’ great work. But all was not yet lost.

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Tsar Simeon I

Luckily, Tsar Simeon I of Bulgaria, who had a great kindness in his heart for the Slavic people, gave the scholar refuge inside his court. Tsar Simeon I, was a powerful ruler. Simeon’s successful campaigns against the Byzantines, Magyars and Serbs led Bulgaria to its greatest territorial expansion ever! It was on its way to being one of the most powerful states in Eastern and Southeast Europe. But Simone was also a lover of literature and art. We can see Simeon himself highlighted here under a golden arch. He is seen dictating to his scribes from his raised dais. Other scholars are spread out all over the court. Almost hastily and messily, writing and reading under the golden light of the throne room.

The painting’s foreground is rather small. The upper portion, which takes up about half the space, focuses on the palace’s decor. The frescoes on the wall feature both Byzantine and Slavic designs. Slavic leaders are painted, and a circular motif is applied in gold to the front of the baldachin.

King Přemysl Otakar II of Bohemia

The fifth painting in the series is entitled “King Přemysl Otakar II of Bohemia.” This painting was made 12 years after the first. The piece depicts King Přemysl Otakar II, who ruled Bohemia from 1253-1278. The King is celebrating the marriage of his niece to the prince of Hungary. This marriage would forge a great alliance and strengthen the bonds of both countries. 

The wedding took place on October 5th, 1264. It was one of the greatest celebrations in Europe’s history to date. Held on the banks of the Danube, under a large canopy, fancy tents were set up along the river to accommodate all the royal guests. The event was dubbed the “Union of Slavic dynasty“. The King happily is greeting his guests inside an ornate tent covered in rich carpets and a beautiful mosaic dome. This scene is lit from above, as if from that celestial place. The light of the hope for the countries’ futures.

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The Coronation of Serbian Tsar Štěpán Dušan

The next painting in the series is the “The The Coronation of Serbian Tsar Štěpán Dušan.” Dušan fought many successful wars, growing the size of the country and enriching the livelihood of his people in the process. On Easter Sunday in 1346, he had himself crowned as the Tsar of the Serbs and Greeks. The painting takes place on the hillside, down from the Church of Saint Marko near Skopje. In this scene, we see crowds of peasants and nobles alike, in line for his coronation. Under Dušan’s rule, Serbia was the major power in the Balkans, and a multi-ethnic and multi-lingual empire. He enacted Dušan’s Code which was a compilation of several legal systems, which is considered to be one of the first acts of the constitution.

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The children will follow in their leader’s footsteps and bring freedom to the Czech people

Dušan is depicted at the centre of the frame, but not larger than any other person presented. Walking in front of him are some young Serbian girls in traditional attire. The children stand at the front of the procession, as Mucha always maintained that “the children will follow in their leader’s footsteps and bring freedom to the Czech people.” In their hands, they carry flowers and olive branches, the symbols of peace and victory. The children’s gaze focuses once more on the viewer, asking them to join in on the celebrations.

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Jan Milíč of Kroměříž

This painting, “Jan Milíč of Kroměříž,” is the first of a triptych in the Slav Epic series. These three paintings jump forward in history slightly and focus on the reformist preachers of the 14th and 15th centuries. Jan Milíč of Kroměříž was a Czech Catholic priest who found himself in opposition with the rest of his clergymen. He found the Catholics to be immoral and indulgent. Their greed was outweighing their piety. 

He redesigned from his official priestly duties and instead dedicated himself to helping the sick and poor of the city of Prague. Milíč made it his mission to persuade the prostitutes of a large house of ill repute to shed their sinful ways and repent. By the sheer eloquence of his words alone, they followed.

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Unlike the rest of the paintings in this series, this one is primarily made up of women. Even Milíč himself is very small in proportion to the rest of the scene. At this moment in time, we can see the former prostitutes shedding their brightly coloured clothes and lavish jewels in exchange for simple, white robes. A mode of dressings that represented their newfound purity.

Jerusalem

Milíč set about building a new church, which he would call his “Jerusalem“. This church would become the Týn Church which now stands in Prague’s Old Town Square. In this painting, we can see the women gathered around the spot that would become this church. The scaffolding reaching high up, making the verticality of the painting one of the most impactful things about this piece. One of the prostitutes in the foreground, dressed in red, has her mouth gagged in order to prevent her from gossiping, a mortal sin.

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Jan Hus Preaching at the Bethlehem Chapel

The second and largest painting in the triptych is “Jan Hus Preaching at the Bethlehem Chapel”. In this dimly lit scene, we see the Czech theologian and philosopher Jan Hus sitting in the center of the Bethlehem Chapel in 1412. Jan was at the height of his popularity at this time. Jan Hus preached against the Catholic Church of Bohemia, as he believed they were using the church for their own gains. And they would not let the Bohemian people have the Slavic language used in church. The scenes show Hus on the left side of the painting, preaching from his pulpit. But Hus, despite being perhaps the most famous character in the scene is not the central focus. The audience is filled with both everyday people and the highest rungs of Bohemia. All together, presented equally.

The church is also filled with famous characters who would shape the future of Bohemia. Perhaps influenced by the teachings of Hus. The future leader of the Hussite army Jan Žižka, stands under a fresco of St. George and the Dragon. In front of the pulpit is a small group of Hus’ students who are diligently taking notes. All of them sit there, transfixed by the words he speaks.

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Queen Sophia, wife of King Váklav IV

On the right side of the frame, we see the bright red canopy of Queen Sophia, wife of King Váklav IV. She sits with her assembly listening to the great lecturer. One of her ladies in waiting turns her head to the side, looking off at a shadowy figure in the corner. This figure represents one of the spying priests who would bring about the death of Jan Hus.

Mucha represents the Bethlehem Chapel as he imagined it. The real church was destroyed in 1836, long before Mucha started this painting. Mucha draws the interior in the high Gothic style as it feels so grand and perhaps reflects the magnificence of the sermons Jan Hus would have been giving. You can visit the new Bethlehem Chapel in Prague today, and while the architecture isn’t nearly as impressive now, its prominence in history is unparalleled.

The Gathering at Křížky

Jan Hus’ teachings were not taken kindly by the papacy. When Alexander V was elected as a pope, he excommunicated Hus. But this would not stop him from preaching. Angered at his insolence, the pope plotted to arrest Hus. He planned an assembly of the Council of Constance to discuss Hus’ opposition to the church. When Hus arrived to have what he thought would be a sensible debate, he was arrested. They repeatedly ask Hus to stop preaching and bend to the ways of the Catholic church but Hus just repeated, “I would not for a chapel of gold retreat from the truth!”.

Hus was burned at the stake for “heresy against the doctrines of the Catholic Church“. As he burned they say he could be heard singing Psalms, a peaceful protestor to the end. But his death would not be in vain. His followers, who called themselves the Hussites, rose up against the Catholic Church. They wanted to take up arms to defend their faith and their right to practice religion in the Slavic language. In 1418, there was a gathering of the Hussites before the great war they would embark on. It is depicted here, in the painting called, “The Gathering at Křížky.”

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Koranda

On the right side of the frame, atop a makeshift pulpit stands the preacher Koranda, one of Jan Hus’ most diligent followers. Koranda preaches to the thousands of followers who have concentrated on the hillside. In the foreground, a young man puts his hands around his mouth, in mid-scream. He is calling out for more pilgrims to come over to this spot and listen to Koranda. Koranda is famously quoted as saying, “the faithful should carry swords, not walking sticks.” It was perhaps this moment that the Hussite Wars began. While the painting’s hills and foreground are lit in a pale morning sunrise, there is a dark sky looming above them. This ominous tone is foreshadowing the devastation that will be brought by impending hostilities.

After the Battle of Grunewald

This scene is perhaps one of the most ghastly of all the paintings in the series. The painting depicts the morning “After the Battle of Grunewald“. The great Battle of Grunewald is one of the most significant medieval European victories in history. It was a show of unity for nations under the thumb of Germany. The Teutonic Knights, a German catholic order, had been ravaging the Baltic lands since the 1400s. They wanted to spread Christianity to the pagan nations as they deemed them “savages”. The Slavs, who were also at war with the German Catholics, saw an opportunity to join forces and create a united front against them. The Slavs, the Poles and the Lithuanians all signed a treaty on July 15th, 1410. This was done to help each other defend themselves against the great Teutonic Knights.

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Polish–Lithuanian Union

The battle at Grunewald in Poland was a bloody affair, but in the end, the Polish–Lithuanian union were the victors. The battle is thought to have been the marking point in history when the balance of power shifted in Central and Eastern Europe. Many historical war scenes are often depicted as gory and bloody and yet Mucha chose a different approach. Instead, the battleground is almost entirely white, like covered in freshly fallen snow. This is once more to show the purity of the fallen soldiers, who died for the good of their country.

At the top of the frame stands Polish King Władysław Jagiełło and his cousin the Lithuanian Grand Duke Vytautas. They look down at the field of dead soldiers in horror. Such a high cost for freedom which should have been granted naturally. A priest in a white hood can be seen blessing the fallen soldiers as he moves throughout the battlefield.

After the Battle of Vítkov

The 11th piece in the series is entitled “After the Battle of Vítkov.” Like the previous painting, this one also focuses on fallen soldiers. Mucha was a pacifist and hated the loss of which war incurred. The battle was between the Czech people and the then King of Hungary, Sigismund, brother of King Wenceslas. Sigismund was thought to be the one who plotted the death of the people’s prophet, Jan Hus. After Hus died, the people refused to accept Sigismund as their king and marched against the Hungarian army, which occupied Prague Castle at the time.

Zižka

The sun rising above the clouds beams down on a figure which represents Zižka, the leader of the Czech army. We have seen Zižka before, first in the church scene listening to Hus’ teachings. Here we see him still fighting for the same things Hus had preached. Zižka is painted here by Mucha almost as a saintly figure, with the light of god cast down upon him.

In the bottom left of the frame, a mother is seen with her children. But she turns away from them, towards the viewer. She looks utterly overcome with pain, exhaustion and defeat. Although her army may have won the battle, many men had to die and she is perhaps thinking about her young children, who will no doubt go to war like so many other young men. These powerful characters looking out at the audience always seem to have these discerning looks, as if they, like the viewer, know what is to come next.

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 Petr of Chelčice 

Mucha aimed with his Slav Epic series to ensure he depicted both sides of the story. And in the painting, “Petr of Chelčice ” we see this balance. While the Hussites were an oppressed people, there were also more extreme factions of Hussites who themselves terrorized many people. This extremist group was called the Taborites. In 1420 the Taborites attacked the village of Vodňany. They plundered the town and burned it to the ground. In the distance of the painting, we see a hint of this action as the black smoke fills the air and almost the entire skyline.

The remaining citizens of Vodňany came to a pond away from the city carrying their dead and wounded in the hopes they would be safe here. The dead are wrapped in white sheets and set against a white pure background. Many of Mucha’s war scenes depict not the action of the battles itself but the after-effects of these traumas on the innocent victims or those left behind. Those who needed to carry on.

Petr Chelčický

In the middle of the frame, we can see a man dressed in a long brown coat and pale blue shawl. He holds a tattered book in his hand, the Czech bible. This is Petr Chelčický. Petr is seen holding the hand of a man, who in anger wants to set off back to the village to avenger his fallen family. But Petr is attempting to calm and dissuade him from seeking revenge.

Chelčický believed and taught pacifism and hated the idea of war. Mucha himself shared in this belief and wanted to highlight the man which he himself looked up to greatly. Petr Chelčický would go on to found the Unity of the Brethren. Their motto was “In essentials, unity; in non-essentials, liberty; in all things, love.”

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The Hussite King Jiří z Podĕbrad

Despite the strength and unity of the Czech people, Rome was still in opposition to them. In 1458 Bohemia elected its first king; Jiří z Podĕbrad portrayed here in “The Hussite King Jiří z Podĕbrad“. Jiří z Podĕbrad was well-loved by his people. With many successful battles, the Hussites had demanded an acknowledgement from the Church. Jiří z Podĕbrad sent an envoy to Rome with a treaty. He asked that the Pope confirmed his election and grant Bohemia their own religious privileges. The Pope sent back to Prague his cardinal Fantinus de Valle, to the Royal Court in Prague’s Old Town.

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Mucha’s Villains

In Mucha’s series, so many of the villains are seen painted in red. And there is no purer red, than the cardinal’s robes. He is centred in the frame, surrounded by the golden light flowing in through the gothic tracery’s stained glass windows. But instead of the golden light on the sun seeming holy or uplifting, there is an ominous, almost firey tone, to the lighting. He has not brought news of peace but of more war. The profile of Fantinus has actually been modelled off Pope Pius II. Fantinus was mere a solider in the Pope’s envoy.

The scene around him is calamitous. The king is seen turning away, his chair on its side, no doubt having been kicked down in a fit of rage. The overturned chair also represents the fact that Bohemia was still not seen as an official kingdom as the Papacy would not acknowledge it. At the bottom of the scene, in the center of the frame, we see a young boy looking out at the viewer. The boy is holding a book in his hands, which has the words “Roma” written on the cover. The book is closed, depicting the fact that Rome has closed the door on the Bohemian people.

The Defence of Sziget by Nikola Zrinski

“The Defence of Sziget by Nikola Zrinski” stands out, as the red hue is so saturated in juxtaposition to the softer tones of the rest of the series. The scene is fiery, literally. It depicts the last assault of the Bohemian forces against the Turkish army. In 1566, when this painting is set, the Ottoman Empire was spreading eastwards, taking city by city by force. Their next attack was set on the city of Sziget, a town in modern-day Hungary.

Nikola Zrinski

Within the walls of the city, the last remaining Bohemians forces gather around their leader, Croatian nobleman Nikola Zrinski. With no way out, the soldiers and common folk decided that instead of surrendering, they would fight to the very end.

One of the most dramatic moments of the siege is the burning of the city. Upon seeing the Turkish forces burst through the battlements, Zrinski’s wife Eva set fire to the city. She knew while this would no doubt kill hundreds of her own soldiers, but it would also kill thousands of Turks. And perhaps stop their advance into the rest of eastern Europe. In this scene, we can see Eva, along with other fellow women, climbing the scaffolding which contained the cities gunpowder supply. They ready themselves, for the right moment, when the Turkish army is close. Then Eva will hurl down the cresset she holds, to set the entire thing ablaze. You can see Eva at the very top of the scaffolding, standing proud and regal, brave in the face of her sacrifice. It was this decision that successfully halted the Ottoman expansion towards the city of Vienna.

Dividing the canvas like a scar, is a dark plume of smoke rising from the ground. The smoke is so thick it doesn’t seem to belong in the earthy realm. Instead, perhaps it is foreshadowing the demise yet to come. This battle is often referred to as “the battle that saved the civilization.”

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The Printing of the Bible of Kralice in Ivančice

“The Printing of the Bible of Kralice in Ivančice” is of particular importance to the Mucha, as it depicts his hometown. The town of Ivančice where Mucha was born is faithfully reinterpreted for us here, on a seemingly idyllic autumnal afternoon. No doubt he would have chosen his favourite time of year to paint this scene. The painting shows members of the Brethren School, gathered in 1578 to admire their new printing press, at work producing the first Czech translation of the New Testament.

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Jan the Elder

This theme of all men being equal was something Mucha believed in and was preached by the Brethren School itself. The teacher Jan the Elder of Žerotin can be seen almost obscured under the wooden shelter on the left side of the canvas despite him being one of the founders of the school. In reality, while the Brethren School was located in Ivančice, the bible had to be printed in secret in the town of Kralice. While the action is celebratory, the act of printing the bible in another language was seen as an affront to the Catholic church.

In the foreground of the frame, we see an old man reading to a young scholar. The scholar is looking out at the audience, with a look of apprehension or perhaps impending doom in his eyes. He seems to know that this act is bound to bring persecution down on the school. But printing the bible in Czech was in itself a symbol of the power of the Czech national identity. Since the bible was one of the most-read pieces of literature, having it in your own language ensured its legacy.

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Jan Amos Komenský

As foreshadowed by the look of terror in the boy from the previous painting, the religious liberties of the Bohemian people would not last. In 1619 the Holy Roman Emperor Ferdinand II became King of Bohemia. Without a true Czech King on the throne to fight for the rights of the Bohemian people, the Catholic church was reinstated in what was now a Protestant region. But not without bloodshed. In 1620, 30,000 Bohemians died trying to defend their liberty. Noblemen and academics were given the choice to convert to Catholicism or to be exiled.

Naarden

The painting of “Jan Amos Komenský” depicts the result of this exile. Komenský had been a member of the Brethern school who faced this choice. Not wanting to bend the knee to the catholic church, he left the country he loved so much, breaking his heart in the process. He spent the rest of his life in the town of Naarden, in the Netherlands. The town is located near the water, and historically it was said that Komenský would walk along the coast every day. Perhaps the calm sound of waves crashing on land allowing him to dream about the country he left behind. One day, when he felt like his life was coming to a close, he asked for a chair to be brought out to the coast. There he sat, and let death take him home once more.

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The scene is painted in a sombre, yet peaceful swath of blues and whites. The purity of the white shores upon which he walked is framed by the melancholy blue of the sky. The sombre sky reflecting the sadness which Komenský felt being compelled to leave his homeland and many of his people. A group of his followers can be seen grieving on the shore, holding each other close. A single lantern sits on the sand, glowing brightly in the darkness, perhaps a hint at the hope which still exists for the Bohemian people.

Czech Mason Temple

This is the only painting in the series which Mucha actually signed! Mucha was deeply connected to Komenský. It is well known that Mucha was a member of the Czech Mason Temple, which was founded in Prague in 1919 and named after Komenský himself. One of the symbols of the Masonic Temple is the Eye of God often seen in a triangle surrounded by rays of light. It is thought that Mucha’s inclusion of the lantern in this scene is symbolic of this same Eye of God and therefore a masonic symbol.

The Holy Mount Athos

The 17th piece in the series is called “The Holy Mount Athos.” Mucha believed that Mount Athos was a spiritual nest for the Czechs and Slav people. Mount Athos is a mountain in northeastern Greece and an important centre of Eastern Orthodox monasticism. Mount Athos is home to 20 monasteries under the direct jurisdiction of the Ecumenical Patriarch of Constantinople. Mucha visited the mountain himself in 1924. The spiritual haven made a huge impression on the painter.

The painting depicts the Russian pilgrimage to this holy site. Once more, we are privy to Mucha’s depiction of the heavenly and the earthly places above and below the canvas. In the upper portion of the painting, we can see the celestial realm. An ethereal glow falls in through the windows, showering the angels in heavenly light. Each of the angles holds in their hand a small model of a Slavic monastery that was built around Mount Athos. Each one of the angels seems to shelter and protect these little treasures. In the center of the frame are two female angels, identifiable by the fact they are not barechested and instead draped with immaculate white fabric. They hold an insignia in their hands which indicates they represent “faith” and “purity”.

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High Priests

In the earthly plane, we can see the Russian pilgrims entering the sanctuary in a semi-circle, bowing and praying. Four high priests stand at the back of the scene, just under the Slavic icons. Each one of them holds a relic in their hand which the pilgrims kiss upon greeting. In the foreground of the canvas, we see once more a young man, holding up an older blind man in his arms. One can imagine them to be the same two figures from the school of the Brethren a few paintings ago. The young man, being so inspired by the teaching of the older one, has helped bring him to this holy place where he can finally be at peace.

The Oath of Omladina under the Slavic Linden Tree

There are two important things to understand when reading the painting “The Oath of Omladina under the Slavic Linden Tree”. One is mythological and the other historical. The historical piece of the story is imprinted in the title with the mention of the Omladina. The Omladina were a group of Czech Nationalists made up mainly of youths created in the 1890s. 68 members of the group were furthermore put on trial for their beliefs and sent to prison for their “radical” ideas. These ideas revolved around the creation of a Czech nationalistic revival, despite the fact that Bohemia was currently occupied by the Austria-Hungary empire.

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The Daughter of Sláva

The scene which takes place here combines the Omladina with an allegorical scene of the Daughter of Sláva. Mucha was inspired by the poems of Ján Kollár whose oeuvre focused on stories of the gods and goddesses from Slavis history. The Daughter of Sláva stands in the center of the frame, beneath a Linden tree. The Linden tree is also a symbol of the Slavs. Surrounding the tree, in a circle of unity, are imagined members of the Omladina. The Omladina are in the process of taking an oath and pledging their allegiance to the goddess Slavia, and to the Czech people. While the men in the frame are portrayed in their formal, modern-day fashions, there are groups of figures surrounding them dressed in folk costumes. These are traditional representations of the first Czech people.

Jaroslava and Jiří

Sitting on what almost looks like the edge of a stage are two figures, a male and female. These characters were actually modelled off Mucha’s own children; Jaroslava and Jiří. The composition of girl on the right strumming the lyre was actually used in the posters that Mucha created to promote the exhibition of the Slav Epic in Prague in 1928. Mucha would never finish this painting, and the composition remains bare on the canvas, unvarnished. The faces are also unfinished, but in a sense that almost makes the painting more interesting as future Czech revolutionaries can imagine their own faces in the image. Inspiring them to never lose their Czech identity and the histories that come along with it.

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The Abolition of Serfdom in Russia

Mucha’s painting of the “Abolition of Serfdom in Russia” is a real reflection of the artist’s disheartening experience of visiting Russia for the first time. Mucha had always looked up to the Russians and was excited to finally visit the city. But when he got there in 1913 he was so disappointed to find the city was overrun with poverty and suffering. It was not the progressive place he thought it would be, instead, he found so many cultural practices to be years behind the rest of Europe. Especially in terms of equality, something he valued over everything else.

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Tsar Alexander II

Tsar Alexander II had given Russian serfs personal freedom in 1861. Which Mucha felt was long overdue. The term “serf”, referred to an unfree peasant of the Russian Empire. They differed from slaves only in the sense that they could not be bought and sold independently from their land. Instead were “attached” to the land they lived on. So if you bought a piece of land, the serfs came with it, but could never be moved from that spot. The emancipation movement of 1861 meant that 23 million people received their liberty. They now could marry without having to gain consent, could own property and even start a business.

When the edict was read out, as portrayed here, the serfs and nobles alike had much uncertainty about what this freedom would look like. For the peasants, having never known this kind of life before, some of them were overwhelmed and confused. Mucha’s crowd is subdued rather than excited. They sit for a moment, apprehensive that the emancipation order could be being revoked. And this liberty taken away as fast as it was given.

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St Basil’s Cathedral and the Kremlin

St Basil’s Cathedral and the Kremlin are almost completely obscured in the background of the scene by the thick fog. Making the picture more about the people than the country which looms over them. The sun is only starting to peek out of the clouds, offering a faint glimmer of hope. In the foreground of the picture, once more we see a mother and child looking out at the viewer. Their faces are a complex mixture of trepidation, anxiety and optimism.

The Apotheosis of the Slavs, Slavs for Humanity

The final painting in the series is perhaps the most impressive, the colours within its frame is almost otherworldly. It’s entitled “The Apotheosis of the Slavs, Slavs for Humanity.” In this scene, Mucha sums ups all the themes that were explored throughout the preceding paintings.

It celebrates the independence of the Slav nation in the 20th century.
The painting is divided into four sections, each separated by colour. The blue portion in the bottom right represents the mythology of the Slavic people. Those stories are the bedrock upon which their culture was built.

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The red in the top-right reflects the brutal Hussites wars fought in the middle ages. The dark shadowy figures on either side of the painting represent the enemies of the Slavic people and the oppression they surrounded the Slavs with throughout their lifetime.

Independent Czech Republic

The last group is the one marked with a bright yellow glowing light. In the centre, a man stands with his arms outstretched. So vast, they almost touch the edges of the canvas. He represents the new, independent Czech Republic. But he doesn’t stand alone. Behind him is the figure of Jesus Christ, supporting him on the journey to come. The man greets a group of soldiers, seen in their uniforms, returning from the First World War. The Austro-Hungarian Empire collapsed after WWI, and the Slavic people were free of their reign in 1918. Just below the waist of the towering figure is a man crouched over, holding his heart. From his clenched hands, a beam of light is radiating. The light represents the Czech people’s love for their nation. And it is this love that will illuminate the future pathway for the Slavic people.

Young boys and girls wave branches with bright green leaves, saluting the men returning home from battle. They are seen wearing traditional folk costumes. Symbolic of the fact that their traditions will never die and will continue in the hearts of future generations.

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Souls of the Slav People

Mucha hoped that those who viewed these paintings would be able to see into the souls of the Slav people. He wanted all Slavs and Czechs, now more than ever, to come together through their shared history. He hoped that by documenting these stories, perhaps unknown by many, they would find peace and hope. I had never known anything about the Slavic people until I visited Prague. After experiencing this series I was so inspired to do more reading about the stories portrayed here in the Slav Epic. By understanding the past these people suffered and survived through you have so much more appreciation for the culture they had to fight to preserve.

Fully taking in the Slav Epic can take some time, but the experience is absolutely worth it. I hope that when it finally reopens in its new home in Moravský Krumlov people flock to see it. This is a collection of works of art that NEEDS to be seen in person to be fully appreciated. While learning about it online is great, seeing these gigantic paintings, overtake your field of vision is such an awe-inspiring experience and I truly hope you all manage to see it for yourself!

The post The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] first appeared on The Creative Adventurer.

Klimt was a man who broke the rules and was somewhat of a rebel in the art community. He moved away from the standards of the time and found a like group of people who would transform the world of art forever. And above all else, Klimt found a way to weave eroticism into all his works, either subtlety…or not so subtlety. Even today, his paintings stir something deep down inside of all us. Immersive Klimt takes the audience on a journey throughout the life of Gustav Klimt. To see his beginning, inspiration, fellow painters, and most importantly, the women who were his great muses!

Table Of Contents

1. How Much are Tickets?
2. How Long is the Show
3. Review of Immersive Klimt
   • Immersive Klimt Animations
4. Is It Worth It?
5. The Life and Art of Gustav Klimt
   • Klimt's Young Life
   • Viennese School of Arts and Crafts
   • The Golden Age of Vienna
   • University of Vienna's Great Hall
   • Philosophy, Jurisprudence and Medicine
   • Founding the Vienna Secession
   • Nuda Veritas
   • Emilie Louise Flöge
   • Mermaids and Serpents
   • Water Serpents
   • Judith and the Head of Holofernes
   • Beethoven Frieze 1901
   • Love, Art and Music
   • The Ravenna Awakening
   • Portrait of Adele Bloch-Bauer
   • The Tree of Life 1905
   • The Kiss
   • En Plein Air
   • Klimt's Death

How Much are Tickets?

Depending on where you see the show, the ticket prices may vary slightly. Currently, the show is on in Toronto, but in 2022 it plans on touring the USA. Tickets vary in price depending on the time and day of the week. Weekends and evenings are $45-$55 CAD per adult. But on weekday afternoons, tickets are only $35. So plan accordingly to save a bit of money!

How Long is the Show

The entire show lasts 35 minutes and is put on a loop. You are free to stay for as many loops of the show as you like. I usually advise blocking off about an hour to experience the show from different angles. It’s worth just sitting through the entire loop in one spot to take it all in. Then, for the second showing, walk around a bit. This way, you can see how the animations and projections change depending on your standing in the room.

Review of Immersive Klimt

Klimt went through so many different periods of his painting, and to see them all laid out together is an amazingly transformative experience. Over the years, Klimt’s popularity has become almost commercial. His paintings have graced dorm rooms as posters all over the world. His golden patterns find their way onto clothing and accessories. This mainstream accessibility is so surprising because during his lifetime he was deemed extremely controversial.

In 2020, the team behind Immersive Van Gogh created their newest exhibition, Immersive Klimt. Lighthouse Immersive describes the period in which Klimt was working as an artist as “the height of the artistic revolution in Vienna that preceded the fall of an empire: pulsing with bombastic energy and the collision of the traditional and the modern.”

That energy can be felt throughout the show. Unlike the other artists who have had immersive exhibitions based on their works (Van Gogh and Monet), Klimt’s work is imaginative, abstract and almost vibrating with passion. If you’ve never seen an immersive show before, the exhibition uses scans of the works of a certain artist and, using digital technology, animates and blends them together. These are then projected onto the walls of these wide-open spaces. While some people insultingly refer to these as nothing more than screensavers, I think it is an amazing opportunity to experience works of art together as one show that would never otherwise be able to be seen together. Either because they are spread out all over the world or some painting might even be held in private collections.

Immersive Klimt Animations

I found this show to be the most experimental in the animations the team uses to project Klimt’s work onto the exhibition space walls. At times it was suuuper trippy, and I heard more than one person mention that it made them feel like they were on drugs. The flashing lights at times felt like you were at a rave. I couldn’t help but feel this was how a contemporary audience could feel the same shock and awe that early 20th century audiences felt when they saw Klimt’s revolutionary work for the first time.

The penultimate painting, the Kiss, was projected along with videos of contemporary dancers. The dancers were nude, just as many of Klimt’s models, and danced to the sound of the music playing all around you. The group I went with were torn on this modern addition. But personally, I loved seeing it. It felt like real-life passion that the works of Klimt’s are trying to project.

Is It Worth It?

Immersive Klimt was the most fun of all the productions I have seen. The team behind the exhibit really seemed to let their imagination run wild. But like with all of these immersive shows, it lacks context. This one especially had almost no contextual information upon entering. Plus, throughout the show, they also project artworks by Egon Schiele, Koloman Moser and images from Ravenna Cathedral. It’s important to understand these aren’t part of Klimt’s oeuvre. The show does a great job of presenting a variety of Klimt’s artworks from the various periods of his life but just doesn’t do justice to the stories behind these paintings.

Klimt himself is such a compelling character whose life impacted and affected his works so much. Hopefully, this blog will act as a primer to your visit to the Immersive Klimt Experience and allow you to better understand the moving nature of these transcendent works of art.

The Life and Art of Gustav Klimt

Klimt’s Young Life

Gustav Klimt was born in 1862 in a small suburb of Baumgarten, southwest of Vienna. His father was Ernst Klimt, a gold engraver, and his mother, Anna, was an aspiring musical performer. Their household was filled with creative energy, and no doubt, Klimt was influenced by this from the day he was born. But the family of seven children was desperately poor. Their poverty constantly resulted in them having to move to search out cheaper housing. One of Gustav’s sisters died in 1874, and soon after, another of his siblings was sent to a sanitorium. After succumbing to religious fervour. The lack of medical treatment available to this impoverished family no doubt impacted their day-to-day lives.

Viennese School of Arts and Crafts

Despite all this, Ernst saw Gustav’s talent, as did his teachers. His father wanted to see Gustav succeed and escape the poverty his family was trapped in. So, in 1876 Gustav applied to enroll in the Viennese School of Arts and Crafts. He was only fourteen years old. And yet, he was a prodigy with skills far beyond his young age.

At school, he learned all the classical painting techniques. But they also taught their students how to work in other mediums. He also learned how to create mosaics, work with metals, and even mix paints. All of which he would incorporate into this artwork later in life. Gustav’s love of folklore, mythology, and Slavic history would be ignited in school. A theme that spread like wildfire throughout his artwork.

The Ringstrasse

Klimt had his first chance at practical experience working in the creation of the artistry of the Ringstrasse. In 1858, Emperor Franz Joseph wanted to destroy all the old medieval defensive walls around the city. With this new space, he wanted to create a new, vibrant outer ring of buildings that represented the new Vienna. He called this part of town the Ringstrasse (“ring street”) encircled the city. This was Vienna’s “Golden Age.” The Ringstrasse is the most popular loop for tourists to see all the best Viennese architecture even if you visit Vienna today.

The Golden Age of Vienna

During the Golden Age, research, science, and industry were all driven by modern advancements. And yet, the one aspect of culture which had yet to be redefined was art. And that was where Klimt saw his opportunity. Klimt and his brother Ernst started up a small painting business, and their first commission was to paint the grand stairway of the new Burgtheater. Klimt called the paintings in series the “Allegories and Emblems.”

Despite this being a hugely prestigious commission, the pay was dismal and wouldn’t even cover the price of models. So Klimt had to get friends and family to pose for the murals. Today, this is such a historical treat as we can still see Klimt’s sisters Hermine and Johanna’s faces set among the spectators in Shakespeare’s theatre. And Klimt’s brother Georg is even portrayed as the dying Romeo. Hidden in the audience is also the only surviving self-portrait of Gustav. Klimt never painted a self portrait so this is the only version of himself he ever made.

University of Vienna’s Great Hall

Despite the massive success of the Grand Staircases of the Vienna Burgtheater, Klimt was about to suffer one of the most significant blows of his life. In quick successions, both Klimt’s beloved father and brother suddenly died. Klimt suddenly was charged with financially taking care of his family. It was perhaps this onset of responsibility that drove him to become a successful artist. He poured all of his grief into his art, like many great artists before him.

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The first large commission he took after the death of his family members was at the University of Vienna’s Great Hall. But Klimt wasn’t going into this commission like the others he had done. Based on the classical compositions and techniques he learned in school. His grief has sent him spiralling to find a new form of painting. He began employing a radical style filled with decorative symbolism.

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Philosophy, Jurisprudence and Medicine

The images he was set to paint were supposed to represent Philosophy, Jurisprudence and Medicine. Yet, the university has difficulty reading any of his paintings expressing these subjects. Klimt’s grief and the loss left him jaded. In his depiction of Philosophy, he painted the great thinkers as just people who could not save man from despair. Jurisprudence only justifies violence and leaves the innocent vulnerable. 

Most importantly, Medicine could not save us from death. In addition to these controversial scenes, the women he portrayed in the scenes were all nude. The Medicine mural was deemed highly scandalous. The critics even referred to it as “pornographic.” The university sent these paintings to exhibitions in Paris to get more opinions before they were to have them installed. At the show, the judges were blown away by the decorative symbolism.

Despite winning the gold medal at the art exhibition, the university refused the paintings. Klimt was enraged. Klimt kept the images for himself and later displayed them in Vienna’s Museum of Modern Art. Sadly, the pictures were all lost in a great fire in 1945. The Nazis burnt many paintings they deemed too radical, and Klimt sadly fit right into that group. Today we have a few pictures of the works of art along with some aspects of the painting he incorporated into future paintings.

Founding the Vienna Secession

After the disappointment at the University, Klimt began to seek out other like-minded artists. Through this search, he left the Kunstlerhaus, Vienna’s association of artists. Leaving the group was a big deal. It was only through this association that most artists got their big commissions. But Klimt knew they preferred the more conservative work and wasn’t interested in bending to that style of work.

Instead, in 1897 he founded his own artist community, which he called the Wiener Sezession (Vienna Secession.) The Secession movement was the Austrian interpretation of Art Nouveau that sweeping other parts of Europe. Although there was no strict manifesto, as Klimt wanted to encourage all the artists to be as expressive and unique as possible, the art seemed to reflect naturalism, realism and symbolism.

Nuda Veritas

The Secession group included famed architect Josef Hoffmann, designer Koloman Moser, designer and architect Joseph Maria Olbrich, painters Max Kurzweil, and Art Nouveau prodigy Alphonse Mucha. The first real painting of Klimt that was at the forefront of the Secession movement was Nuda Veritas in 1899. The painting depicts a beautiful naked woman with flaming red hair. In her hand, she holds the mirror of truth towards the viewer. At the top of the frame is a quote by Friedrich Schiller in stylized lettering: “If you cannot please everyone with your deeds and your art, please only a few. To please many is bad.”

Emilie Louise Flöge

During the founding of the Vienna Secession, Klimt also started a lifelong partnership with Emilie Louise Flöge. Emilie’s sister Helene had been married to Gustav’s brother Ernst. When Ernst died, Gustav became Helene’s legal guardian and spent a lot of time with the entire Flöge family. Emilie and Gustav became constant companions but they never married. Their alternative romance was a shock to Viennese society. Still, it seemed in the same vein as everything else in Klimt’s life. Despite their atypical relationship, Klimt was known to use her as a model. She is immortalized in many of his most famous paintings.

It’s important to note that Emilie was an incredible fashion designer, and she had a very successful Viennese fashion house. She was not the typical muse who faded into the background, more than a pretty face. She was fiercely creative in her own right, and her fashions were miles ahead of their time! Much like the fashion revolution we are seeing today, her styles moved away from the male gaze. Her designs were also made in the spirit of freedom. She wanted to break away from the tight corsets and give these modern freethinking women dresses that were loose and yet also emphasized their femininity.

Mermaids and Serpents

The other reason that Emilie and Klimt were never married was perhaps that Klimt was somewhat of a Viennese Casanova. Undoubtedly, he was somewhat of a misogynist and was obsessed with the human form. As well as his desire for the women he painted. Given the freedom of expression from the Secession movement, Klimt drew hundreds of erotic drawings in the 1900s. These expressive, sensual, and dynamic forms would go onto become the basis for his famous Mermaids and Serpents.

I loved how the Mermaids were represented in Immersive Klimt. Swimming around the space, giving real movement to their sensual and fluid forms. It’s very interesting to note that the design of the women’s bodies is stretched and feature a bulbous head. Creating the effect of a phallic-like shape. The integration of male and female forms as one singular creature.

Another signature style of Klimt’s paintings was his women with long, large, red hair. The hair runs wild! It swirls around the women as if with a mind of its own. In early paintings of these mermaids, they are featured with men staring at them, both enraptured and horrific all at the same time. This gives the viewer a hint that perhaps these are not just any women, but in fact, more like Sirens. The Siren’s power is in their ability to capture and eat the men they seduce. While Klimt did his fair share of objectifying women he also was a man who saw the power of women.

Water Serpents

In later paintings like Water Serpents I and Water Serpents II, the women are depicted in their own world. No men in their new kingdom. In fact, one of the pieces was very controversial as it was thought to depict two women as lovers. Klimt renamed the piece “Mermaids,” giving it a symbolic theme in fear that it would be censored. The fairytale context and fish-like bodies allowed him to represent this facet of society without being criticized. Later in his career, he would unabashedly represent lesbians without contextualizing them into myths. He wanted to paint them as they were. They became less abstract, the bodies unmanipulated. They were just simply The Women Friends, wrapped in an intimate embrace.

Judith and the Head of Holofernes

Women’s power over men was another theme that shocked society at the time. And yet, Klimt did not shy away from this. Klimt’s interpretation of Judith and the Head of Holofernes is a decisive example of his point of view. This scene is painted time and time again in art history and with many different interpretations. In most paintings of this scene we can see Judith in the process of cutting the head off, sometimes looking angry, violent, or even a bit repulsed. But usually, the man’s entire body can be seen, his horrified face sometimes more powerful than the expression on Judith. And yet, in Klimt’s, Judith’s body takes up almost the entire frame. She is the star.

The head of Holofernes a literal side note, just peeking out from the corner of the frame. Judith’s expression is almost orgasmic as she reclines against the wall with her breasts exposed. She is seen taking pleasure in this act, something which Viennese society simply could not bring themselves to understand. Despite Judith being the one who cut off the head of Holofernes, she looks slightly decapitated. The large gold necklace around her neck blends into the gold background, making it look as if her head is almost floating about her body. Mimicking the act of the beheading.

Beethoven Frieze 1901

In 1901, Klimt began work on a large frieze for the Fourteenth Vienna Secessionist exhibition. Although the piece was only intended to be displayed during the exhibition, it was painted directly onto the walls. The entire piece stands at 7-feet high and 112 feet wide.

It wraps around the rooms and begins with the image of a floating female Genii. Her form is repeated across this side to depict her flying around in search of Earth. The genii greet three golden figures. The largest figure in the foreground is a knight, wearing a shining set of golden armour. The knight is a symbol of hope, a saviour to humanity’s suffering.

Typhoeus

In the most interesting part of the mural, the Genii meets the wind giant Typhoeus and his hostile forces. Typhoeus is a giant hairy creature with great wings that stretch across the entire wall. The creature’s giant snake-like tail curls under the wings and circles inwards like a spiral.

For Europeans of the time, the image of Typhoeus was especially impactful. Typhoeus was the personification of typhoid which plagued European cities, including Vienna, in the nineteenth century.

Typhoeus stands with his daughters, the three Gorgons, who symbolize lust, debauchery, and death. Their jet-black hair is encircled in golden snakes, just like the tail of their father. Their alluring bodies seem to temp viewers to come closer. They are the real sirens who lure men to their doom. Above the sirens are a series of ghoulish-looking women who seem to almost be decaying away in front of our eyes. These represent the faces of syphilis which was also running rampant through the streets of Vienna. Clearly, Klimt had a personal issue with all these diseases.

To the right of Typhoeus, a full-figured woman with sagging breasts represent Intemperance. She is excessive in all ways, in the wealth of her flashy jewelry, her ostentatious blue skirt and her obvious gluttony.

Love, Art and Music

But the Genii flies on in search of happiness. And she finds it, in a choir of angels. The singing represents the fact that we are led to an ideal realm of happiness and pure love through art. Music is truly heaven on earth.

The scene ends with a kiss. All that constant yearning, and searching, finally comes to an end. The couple’s kiss is so passionate that the world around them seems to disappear, and they enter into their own reality. Behind them grows a tree. Perhaps reminiscent of the tree of life, which spread out from the earth into the heavens. The lover’s feet are bound together as if it represents the sturdy trunk of the tree.

The Ravenna Awakening

In 1903 Klimt was searching for inspiration. He was 41 years old, and despite his success, he found himself at an impasse. On a trip to Italy to gaze upon the old masters, he stopped into the Basilica of San Vitale in Ravenna. The church is most famous for its incredible Byzantine mosaics. In fact, St Vitale boasts the largest and best-preserved mosaics outside of Istanbul. In a letter, Klimt stated that “the mosaics are of incredible splendour.”

As Klimt’s father was a gold engraver, goldwork had been a part of his life for as long as he’d lived. And yet, this was the first time he had allowed the gold to overwhelm him and enter fully into his art. He was amazed at how the light reflected onto the gold. The light seemed to change the entire piece as the shone into the room. It seemed so expressive and was yet another element Klimt could add to his paintings to bring them to another emotional level.

Portrait of Adele Bloch-Bauer

One of the first paintings Klimt made upon his return to Austria was the Portrait of Adele Bloch-Bauer. In this portrait, you can see precisely how the mosaics of Ravenna translated themselves into his paintings. Adele is sitting against this brilliant golden starry background. She wears a beautiful triangular-shaped dress, made up of rectilinear forms of silver and gold leaf. There was so much gold and silver leaf in the painting, the total cost of the work of art was as much as a large house in the middle the Vienna.

Each part of her dress and body is decorated in a different pattern, creating this patchwork quilt of symbolism. In parts of the paintings, the dress blends so perfectly into the background to the point where the subject becomes one with the background, almost melting into it.

Egyptian Influence

Some of the symbols used within the painting reflect Klimt’s interest in Egypt. In this painting, the Eye of Horus is repeated along the front of her dress. Egypt’s Book of the Dead is one of the most richly decorated texts from that era, and Klimt was enthralled with its imagery. Klimt was also interested in the idea of life after death. In this painting, Adele seems like she is floating in an ethereal place, which is not of this plane of reality but perhaps of somewhere between life and death.

It is rumoured that Adele was also Klimt’s model (and perhaps lover) for the painting of Judith and the Head of Holofernes. The two women bear many similarities, and the large chocker around their necks are almost identical in both portraits. Although this cannot be proven, the love and care Klimt took in her painting is irrefutable.

The Saga of the Portrait of Adele Bloch-Bauer

Long after Klimt’s death, the painting of Adele went on to transcend art history and become one of the most famous paintings in the world. During WWII, the painting changed hands multiple times, attempting to evade destruction by the Nazis. Although Adele had originally written in her will that the paintings be given to the National Viennese Art Gallery upon her death, this was because she died long before the Nazis invaded. A new will by her husband had been created to ensure the painting was kept within the family. But this was ignored and the museum kept the painting for years even though it had been sold to them by a Nazi sympathizer.

Eventually, the great-granddaughter of Adele Bloch-Bauer was able to open a new case to get the painting returned. She was able to file the case over in America where she now lived under a new law. She was finally successful and despite her long fight, she found she needed to sell as such an expensive painting just couldn’t be kept in her home. The painting was set to be bold at auction but ended up being sold privately for a whopping $135 million.

The Tree of Life 1905

The next famous painting in Klimt’s golden period was The Tree of Life, or the Stoclet Frieze. The Stoclet Palace was the home of a wealthy Belgian who commissioned several of the Secessionist artists to make art for his new palace. This piece he commissioned by Klimt was to hang on a large wall inside his dining room.

The triptych features a large swirling tree in the centre. To the left is a single woman draped in a large patterned cape, and to the right is an embracing couple. The couple’s embrace mimics the same pose of Klimt’s most famous painting, The Kiss. In the Tree of Life, Klimt continued to explore the themes of Egypt symbology he began to explore in the Portrait of Adele. The Tree of Life is an important symbol in many cultures. And in most cultures, the tree symbolized the connection between the world of human beings with that of the gods and spirits. Another ancient symbol incorporated into the painting is the repeated coils and spiral reminiscent of ancient Mycenaean.

Eye of Horus

The tree’s trunk is covered in the Eyes of Horus looking out at the viewer. Perched in the centre of the tree is a great raven or falcon. Horus was often portrayed as a falcon when the god came down to earth. Horus had two eyes, one made of the sun and the other made of the moon. The morning and the night, life and death. Just as Horus represents the circle of life, as does the tree. The tree’s swirling branches represent the different directions and ways life is a complex circle. The tree’s branches touch the sky, and its roots reach the ground, creating a connection between life and death. As if to tell the viewer there is no real end, only a new beginning in a new circle.

The woman on the right is called Expectation. Her large dress features huge pyramid motifs throughout her robe. Her face is also heavily inspired by Egyptian hieroglyphics. On the right, we have the couple who are called Fulfillment. This couple was once called the Lovers. But this name was too close to the Kiss which also shares a very similar pose. The couple is standing in a loving embrace. But in this pose, we do not see the man’s face at all as he has his back to us. The man seems to fall into the women’s arms, as the patterns on their dresses meld together as if they are becoming one. Perhaps Klimt’s commentary on the meaning of life, and how to be fulfilled, is to be loved.

The Kiss

The most famous of all Klimt’s paintings is The Kiss. It is often quoted as being one of the most romantic paintings in the world. This painting was one of the most popular posters sold at university fairs and hung on many people’s walls I lived with throughout the years. It has almost become a parody of itself but nevertheless, its power is truly extraordinary.

A couple stands in front of a starry, golden background. The ground upon which they stand seems to be blessed with fertility. Flowers bloom in a thicket in vibrant colours beneath them. So dense the grass cannot even be seen. The couple stands, almost on the edge of the earth, in a passionate embrace. Both the foreground and background are painted on the same plain. There is no depth to the painting. This reflects Klimt’s inspiration, the Ravenna mosaics. The flatness of the mosaics seemed to enthrall him, and it was through the use of light and texture that the mosaics would sparkle and shine and be given depth. But of a different sort.

Man vs. Woman

Unlike in the Tree of Life, this couple’s clothing is made of differing patterns. The man’s large robe is painted with dark geometric patterns. His robe features straight lines and more classically “masculine” colours of blacks, greys and browns. The men’s head is entangled in a crown of green vines, like the Laurel wreaths which symbolize man’s victory.

The woman also has a spray of flowers women into her hair but not as a crown, perhaps showing her submissiveness. Her dress is also distinctly more colourful. It features swirling organic forms which are classically more feminine. The circles almost resemble a women’s womb. From the bottoms of her dress, golden vines seem to creep downwards, perhaps another hint at the idea of women’s fertility.

Orpheus and Eurydice

Many art historians refer to the couple in the scene as mythological characters from the Greek story of Orpheus and Eurydice. Orpheus fell madly in love with Eurydice, and yet shortly after they were married, she was bitten by a snake and died. Orpheus, in utter heartbreaking despair, goes to the underworld to retrieve his lost love. As he was a talented musician, he managed to get past many of the obstacles in his way using these talents. When he finally found her, Hades told the lovers they could only leave on one condition. That they never look back.

The couple agreed, and after finally climbing out of the underworld and seeing the beauty of the golden sun and green grass on the earth’s surface, Orpheus turned back to look at Eurydice to see her reaction. But when he did, she disappeared forever. Klimt has captured that moment for us, frozen in time. The moment as Orpheus turns back to kiss Eurydice just before she disappears is preserved in golden amber. Her toes are curled under and clutch the earth, on the edge of the underworld, to which they just exited. That grip shows to the viewer how much she doesn’t want to let go. And lose her love forever. Despite knowing the ending, we want to see a different result for these passionate lovers. And if we cannot change the course of history, let us therein just reveal in this moment with them.

Emilie Flöge?

Many people think the woman who modelled for ‘The Kiss’ was Klimt’s long-time lover and companion Emilie Flöge. Despite never being married, the two were truly soul mates. When Klimt died, the last words out of his mouth was, “Emilie must come.” While the man in the painting doesn’t resemble perfect Klimt himself, I like to imagine this is his idealized version of himself and captures their unique romance for eternity.

En Plein Air

After the fervour of his golden period, Klimt began a new cycle of art which was inspired by his choice to start painting outside. ‘En Plein Air‘ or Plein air painting is the act of painting outdoors. This period of painting did away with the gold and silver gilt. It was replaced with a more subdued palette and subject matter. He employed a lot of purples, lilacs and salmon tones in these paintings, which some people call his “purple period.” Klimt was so interested in this new form of painting he re-made his portrait of Adele Bloch-Bauer in this new style. Since she was so important to him. He even made a painting of her daughter despite the fact that otherwise Klimt almost never painted children.

The majority of these pastel paintings surrounded his favourite subject; women. Most of them were so erotic they could not be exhibited at the time. Klimt featured portraits of female lovers wrapped in a beautiful embrace that shocked the public at the time in Vienna. But Klimt didn’t shy away from portraying all aspects of sexuality. Despite the restrained pallet, Klimt nevertheless continued to play with stylized backdrops and floral patterns. The paintings looking more and more like a kaleidoscope.

Klimt’s Death

In many of Klimt’s paintings, he seems to be interested in the idea of disease and epidemics. It is therefore pretty ironic that Klimt himself fell ill to the worldwide influenza epidemic of 1918. It took his young life at the age of 55 years old. One has to imagine how many other incredible paintings he would have made should he have lived past this epidemic. He was buried at the Hietzinger Cemetery in Vienna. He lies underneath a rather plain tombstone with only his name emblazoned on the granite but written in a perfectly Secessionist font. A subtle memorial to all the great works of art he helped create, in addition to his own works, in the founding of this group.

Klimt truly was a visionary who saw the world in a way that it is almost impossible to find its equal. While the Kiss might be his most memorable work of art, there are so many other pieces you should seek out and learn more about. They tell the real story of his life and by seeing them all together in an exhibition like Immersive Klimt is a unique experience I think is worth a visit! Let me know in the comments what your favourite painting is or what you thought of the exhibition.

Happy Travels, Adventurers!

The post Everything You Need to Know About Immersive Klimt, An Honest Review first appeared on The Creative Adventurer.

Stepping in here feels like going back in time. It is a joyful place to visit too. That might seem odd since you might associate medical museums with being a bit morbid. But honestly, the museum staff adds so much excitement and interest to all the objects on display. These old pharmacies would have been a local hangout and place to socialize back in the day and the friend faces inside continue that tradition on today. It’s hard not to get carried away looking at every jar and bottle on the shelves. Asking questions about what each ingredient was used for. Luckily, your guides have ALL the answers and will be more than happy to cure your rabid curiosity.

Table Of Contents

1. History of the Newfoundland & Labrador Pharmacy Museum
   • Restoration of the Pharmacy Museum
2. 20th Century Drug Stores
   • Work of the Apprentice
   • The Local Drug Store
3. Hours & Access
4. A Tour of the Museum
   • #1 Show Globes
   • #2 Ship's Medicine Chest
   • #3 Patent & Quack Medicine
   • #4 Poisonous Medicine
   • #5 Vintage Perscriptions
   • #6 Cod Oils
   • #7 Soda Shop
   • #8 Vintage Packaging
   • #9 Beauty Products
   • #10 The Guides!

History of the Newfoundland & Labrador Pharmacy Museum

In the early 19th century, the city of St. John’s in seaside Newfoundland was on the rise. The population was growing thanks to the development of the seal, salmon and Grand Banks fisheries. But a horrible fire in 1892 destroyed almost all of what was then downtown St. John’s. The fire cause 11,000 of its citizen to become homeless and cost over $13 million in damages. Government buildings, churches and commercial businesses were all burnt to the ground. This also included the eight drug stores that operated within the city.

In 1922, Peter O’Mara was one of the first to reopen a new drug store. The pharmacy opened at 488 Water Street, where we find the museum today. Water Street was located right along the waterfront. This meant the drug store could efficiently service all the naval officers, fishermen and sailors working on the docks. Peter O’Mara‘s druggery had been operating in St. John’s since 1899, but he had outgrown his previous Drug Store. And thanks to the fire this was his push to expand. The architect of his new store went with Art Nouveau and Art Deco styles, popular during the 1920s. Today, the pharmacy is a shining example of that kind of architecture and interior design that has otherwise disappeared over the years.

Restoration of the Pharmacy Museum

Walking inside this pharmacy, you’ll notice right away the amazing originally restored elements of the interior. This includes the original tin ceilings, ornate cabinets and aged maple flooring. All these were evidence of the money that went into the Pharmacy making it such a special place to shop! All of the original oak fixtures were made in England and shipped to Newfoundland. Quite a journey in the 1900s and a shipment that would have been extremely expensive. But pharmaceuticals were a lucrative business. And Peter O’Mara wanted to make sure his Pharmacy stood out. When the drug store was finally closed, the fixtures were sold off. Luckily, the museum was able to repurchase them in 1975. Turns out they were being used inside the nearby Donald Hogan drug store.

20th Century Drug Stores

The design of Peter O’Mara’s Pharmacy was based on the traditional British system of druggery. Therefore designed in a classic English style. This system focused on apprenticeship to learn the trade. Apprentices would be paid a meagre salary and their time in service as an apprentice would last years. They were given room and board by the advising pharmacist but little spending money. Many pharmacies would be a two-storey building, with a living space above the main shop. Apprentices would work for four to ten years before they would be consisdered members of the guild of Pharmacy. Only after this time could they practice independently.

Work of the Apprentice

The life of an apprentice was tough. After all, the job of a pharmacist held the lives of people in their hands. Proper training, good service and top-notch medical knowledge were of the utmost importance. The apprentice’s work would consist of simple tasks like cleaning, pounding crude material, preparing mixtures, measuring quantities and taking stock of supplies. Back then, you couldn’t just simply order all your ingredients. Many of them needed to be made by scratch. So when you walk inside the museum and see the hundreds of glass jars and bottles on the wall you really appreciate how much work making the elements for just one prescription would have been.

What is also super interesting to take note of is that all the labels are written in Latin. Latin was still a very rare language for someone to read or write back in Newfoundland during the 20th century. But this was yet another skill the apprentices had to learn. Latin was still being used on the bottles and as well as on the written prescriptions from doctors.

The Local Drug Store

The 20th-century Pharmacy was more than just a drug store. It was a local hangout. Every day goods were sold here, almost like a general store, it wasn’t just pharmaceuticals. And who wouldn’t want to hang out inside such a pretty shop?! The store would have also carried exclusive imported items from England and France like chocolates, candies, perfumes and other beauty products. Some drug stores even produced their own branded household items. They would be able to compound anything from furniture polish to beach, floor cleaners and ginger wine!

While Doctors were required for prescriptions for serious conditions, if you had a common cold or stomach ache, you could also go right to the pharmacist. Just like you do today with over-the-counter drugs. Stomach aches were widespread as refrigeration wasn’t standard and food spoilage was rampant. Treatment for these types of maladies was the most common over-the-counter medicine pharmacists would have developed. And depending on which pharmacy you visited, they might each have their own unique blend and recipe for treatment.

Hours & Access

Currently, the museum is open to the public by appointment only. But don’t let that put you off. Deanne (the museum curator and guide) is excellent at getting back to you ASAP to find a time to fit you in. Simply email info@nlpharmacymuseum.com to arrange a time to visit.

The museum is open Tuesday to Friday, but you can always inquire about other times if they have some availability. The museum is located along 488 Water Street in downtown St. John’s. There is parking available right beside the museum if you are planning on arriving by car. But this area of town is super walkable if you’re staying in the area it’s easy enough to walk to the museum. 

A Tour of the Museum

Lining the Pharmacy shelves are over 2,000 artifacts. Everything you would find inside a 19th-century pharmacy. Antique bottles containing pharmaceutical substances with their original labels face out to the incoming customers. Mortars and pestles, along with scales and tablet presses, are placed on the countertops as if ready to be put to use. Inside the glass cabinets, you can find perfumes and cosmetics right at the front of the shop. There was also a soda fountain, a staple of any good pharmacy back in the 1920s. But what are the BEST reasons to visit the Newfoundland Pharmacy museum? Below are my top 10 exhibit items that make this place so very special!

#1 Show Globes

When you walk inside, facing out on either corner of the shop are two ornate Show globes. Their golden lustre shines in the window when the shades are open. The show globes would have been used to advertise the pharmacy in the same way barbers used striped poles. The golden eagles hold a giant glass orb from the chains held in their beaks. One of the show globes is filled with blue-coloured water, the other with red. The colours inside the globes were used to advertise medical outbreaks in the city. This could be anything from cholera, syphilis or, in our current climate, covid. This ensured that even people who couldn’t read the newspaper were kept abreast of any fast-spreading diseases.

Show globes date back to the 17th century and originated in England. During this time, many people were illiterate, so coloured globes were an easy way to communicate to the general population. The two globes inside the Pharmacy Museum have named the globes ‘Belladonna’ and ‘Hexamina.’ The names come from common ingredients used in ancient pharmaceuticals which are the favourites of the museum curators.

#2 Ship’s Medicine Chest

At the front of the shop, you’ll immediately be drawn to the large open chest. Like a giant treasure chest. But instead of gold coins and precious gems, this wooden box contained shimmering glass bottles containing life-saving medical treatments. There are a myriad of different liquids and powders hidden away inside the various wooden compartments. The box contains ointments for burns, itching and other skin conditions. It also included a “clap mixture.” This was because sexually transmitted diseases were prevalent on ships and sailors on leave. There were also lots of tonics to treat upset stomachs, fever and constipation. There were compounds used for toothpaste, detergent and aftershave for daily use on the ship as well.

The “poison” chest was locked and only accessible by a key held by the captain. But not to worry, the poison wasn’t used for nefarious purposes. Poison was actually a common ingredient in many medical concoctions. But if not appropriately used, it would indeed be a hazardous thing for just anyone to get their hands on.

Also provided inside the chest was a copy of the Ship Captain’s Medical Guide from 1946. These guides would be held by the captain and could be used to find medical treatments for whatever is necessary. Ships with under 99 people often would not be required to carry a doctor on board. Therefore, first aid courses administered by St. John’s Ambulance service would help captains train for aiding the sick and injured on-board.

#3 Patent & Quack Medicine

One of my favourite types of medical history is “quack remedies.” A quack is a “fraudulent or ignorant pretender to medical skill.” They often will create unproven, usually ineffective, and sometimes downright dangerous medicines and treatments sold directly to the public without the need for a prescription.

Radway’s Ready Relief

The museum’s collection features ‘Radway’s Ready Relief.’ This was a counter-irritant liniment and carminative tonic. The relief medicine claimed to be a universal “cure-all” to help with everything from rheumatism, sciatic, fever and even nervousness! But the “medicine” proved to be filled with ammonia, capsicum (pepper spray), soap, and the primary ingredient was alcohol, at 27%! So more than likely if you took this remedy, you might just be drunk enough to forget about the pain. In the end, the company was charged $50 for their fraudulent claims, although this didn’t stop others from producing fake medicine.

Dr. Wilson’s Herbine Bitters

Dr. Wilson’s Herbine Bitters, from 1880, claimed to make your blood purer! The bitters were said to help with headaches, indigestion and liver problems. But in actuality, it contained more alcohol, which no doubt would have made liver problems even worse.

Dr. Pierce’s Favourite Prescription

Dr. Pierce’s Favourite Prescription was made to appeal to the “weaker sex.” Which in the 1800s referred to women. Dr. Pierce (who actually wasn’t a doctor) created this tonic to “regulate the menstrual function and quiet nervous female irritation.” Back then, the treatment of female problems was widely overlooked and not taken seriously. Often they just wanted to silence women rather than actually look into what was causing the pain. While not listed on the label, the tonic contained dangerous substances, including tincture of opium. The Ladies Home Journal even tried to prove this made a fraud after many women who were given the tonic made several complaints. But they were unable to verify the quackery but continued to advocate against it. This resulted in the journal having to pay Dr. Pierce a hefty fine for slander. Despite being right all along!

Lydia E. Pinkham’s Vegetable Compound

But there were those creating patent medicines that did the right idea and whose medicine had some real health benefits. Seeing how women were treated by the health industry, Lydia E. Pinkham was well known for making homemade remedies in her kitchen. She created treatments using a mixture of alcohol combined with roots and herbs. She would often distribute these to her friends and family, who would rave about the results. When the financial crisis hit, she decided to patent and sell her remedy as Lydia E. Pinkham’s Vegetable Compound. It was marketed to help with menstrual cramps and menopause symptoms. In the 1900s, one of the primary treatments by male doctors for severe menstrual cramps was to surgically remove the ovaries! Which had a 40% mortality rate. So providing an alternative was greatly desired by the public.

Botanical remedies have been used as practical treatments for ages. But she was one first to market them specifically for women. As a woman, she knew what really worked and what didn’t. Pinkham used unicorn root, which helped strengthen the uterine lining preventing the chance of miscarriage. Pleurisy root also helped cure prolapsed uteri. Black cohosh was an anti-inflammatory which helped with menstrual cramping. Lydia became a hero for women and even started a column in a magazine where women could write in with their health issues. Most of these women had been either completely ignored or mistreated by their male doctors and they found refuge in her column. Even though Lydia wasn’t a doctor, she gave voice to these women and acknowledged their pain as real. Which sometimes is exactly what you need to hear.

#4 Poisonous Medicine

Back in the 19th and 20th centuries, you’d be surprised to find that many of the treatments and tonics prescribed by doctors and pharmacists contained POISON! One of the museum’s most prized possessions is the Gibson’s linseed, licorice and chloroform lozenges. You heard that right, chloroform! Chloroform was actually very widely used in medical treatments back then as it had sedative qualities. Which we now know is because it is indeed TOXIC and LETHAL in large quantities. Sure, your cough probably felt better when you were unconscious but used in large doses this could prove fatal.

Belladonna

But an even more popular poison than chloroform was belladonna. Belladonna is a plant whose name in Italian means “beautiful lady.” Originally the plant’s berries were juiced and drank by women to enlarge their pupils. This was thought to give them a more beautiful appearance. But the leaves and the berries are very toxic when taken in even small quantities.

Nevertheless, doctors were obsessed with the results they saw from belladonna. And while toxic, it was true that there was some medicinal benefits from the plant. Belladonna contains atropine and scopolamine, which can relax muscle spasms, regulate heart rate and reduce body secretions (specifically in the stomach.) This resulted in hundreds of drugs being laced with belladonna. Most strangely, Belladonna Cigarettes were prescribed to patients who suffered from asthma! The idea was that the smoke, when inhaled, would relieve the spasm in the lungs. Today, smoking to help with asthma is the most backwards idea, but back then, poison was your first course of action!

#5 Vintage Perscriptions

In a tall glass box, in the front of the shop is a huge stack of old pharmaceutical prescriptions. The museum’s preserved prescriptions are also stored in a huge book that looks like an ancient tomb. While many things have changed over the years, the one thing that remains the same is that doctors’ handwriting is absolutely unreadable. (At least by the general public) But what made reading these prescriptions even more difficult back then was that they were also written in Latin. And unlike today, doctors’ prescriptions were more like a recipe. Not just the name of the pill or cream and the dosage. Doctor’s had to provide the pharmacist with detailed instructions and measurements to prepare medical mixtures using the pharmacy’s base ingredients stored along the walls.

Pharmacy Equipement

The pharmacist would use a variety of different pieces of equipment to make a simple pill. First, they had to precisely measure out the base ingredients using delicate measuring devices. Then the mortar and pestle were used to mix the ingredients into a paste. Often a percolator would be needed to extract medical compounds from plants. Then the pharmacist would have used the pill-rolling machine or pill cachet to create the individual pills. If the mixture was a liquid, they would have to press their own custom-sized corks to suit the size bottle required. Phew, what an exhausting process! 

#6 Cod Oils

Cod is perhaps what Newfoundland is best known for. Usually in fish and chips but also in medicinal oils used throughout the centuries. Cod liver oil was first used as far back as the Viking era. But in the 1800 and 1900s, you’d find it more commonly in European countries like Norway as a nutritional supplement. Since the cod liver contains high amounts of vitamin A and D it was commonly taken to during the winter months. In these Nordic countries, cod oil was a good replacement when there was no fresh meat or vegetables to be had.

In the 1920s, Cod Oil was being produced on mass in Newfoundland. It was discovered that the Newfoundland cod produced a richer level of Vitamin A, so it quickly became the prize place to export medicinal cod oil. For the next 50 years, cod oil was a popular supplement, especially given to children to improve their overall health. I have no idea how they got kids to take it, though, since it tastes exactly how it sounds, like drinking a fish! Today the use of cod oil has all but disappeared in favour of other, less foul-tasting vitamins.

#7 Soda Shop

Today we have SodaStreamers in our house to get on-tap access to addictive bubbly water. But back in the 1920s, the public would flock to drug stores, pharmacies and general stores to get their fix. But back then, soda wasn’t just drunk for pleasure, it was actually a medical treatment. In the 1850s, pharmacists would prescribe soda to people as cures for lethargy and headaches. Although this might sound off, we all know how sugar can give us a boost of energy, and I know lots of people who drink diet coke when they have a migraine. It’s their secret remedy.

Even after soda lost favour with the doctors as a medical treatment, people had already got a taste for the sweet concoction. So pharmacies continued to serve it as a sweet treat. Brand names like Pepsi and Coke began to export their products worldwide. But Noname varieties, made from flavouring agents, were also a popular choice. Often your local pharmacy would carry their own custom blends or unique mixtures.

#8 Vintage Packaging

Although prescriptions were required for many of the more serious remedies, there were also lots of products that the pharmacist you create from their supplies without requiring a doctor’s note. But you could also get handmade home cleaning and cooking products. Since they made so many of these mixtures, pharmacists would often buy a bulk label dispenser, so they didn’t have to handwrite every label along with the instructions of how to use the product.

These mixtures included “fluid extract cascara aromatic”, which was a laxative for children that contained 20% alcohol. “Parrish’s chemical food” was a tonic given to children, containing iron phosphate, carbonate of soda, carbonate of potassium, ammonia water, powdered cochineal, water, sugar and orange-flower water. Another very popular compound used in the kitchen was “Salt Peter”. Before refrigeration, botulism was very prevalent and extremely deadly. While salting meats would help prevent the meat from going bad, saltpetre was developed to help with the home curing of meats to avoid bacteria growth. But the high levels of Sodium nitrate when taken in large quantities was later proven to result in a significant increase in stomach cancer. 

#9 Beauty Products

As someone who loves wearing makeup, I really got a kick out of their collections of vintage cosmetics. Many of the products from their collections are from the Jergens company, a name brand we can still see on pharmacy shelves today! The Andrew Jergens Company was established in 1882 in Cincinnati, Ohio. Although many of us know Jergens best for its lotions and soaps, it was best known back in the early 20th century for its perfumes. Lily of the Valley is a smell I so closely associate with my grandmother and mother. I was amazed to find that it was one of the most popular scents in the Jergens collection. But Jergens also produced other perfumes with such exotic fragrances as Carnation Petals, Japan Rose, Lotus Flower, Scotch Thistle and Lilac Frost.

What many people don’t know about early 20th-century makeup products is that they were often made using the byproducts from, (are you ready?) slaughterhouses! Excess tallow from the slaughtered animals was used to make emollients in cosmetics. Everything from lipstick, eyeshadow and soap. Fats from the animals were also used in face creams and moisturizers!

#10 The Guides!

Honestly, the best part about visit the Newfoundland Museum of Pharmacy is the guides. There is so much to see here, and everything is bound to pique your curiosity. Getting to ask the experts all your questions is such a treat, and it really feels like you’re getting some sort of VIP treatment. So if you’re visiting St. John’s sometime soon, be sure to message the museum to make an appointment for your own private tour!

The post 10 Reasons Why You Need to Visit Newfoundland Pharmacy Museum the BEST Hidden Gem in St. John’s first appeared on The Creative Adventurer.

I have been obsessed with Cabinets of Curiosities ever since I was young. I loved collecting shells on the beach, finding interesting pieces of ephemera and random bits and bobs to display in my mini-museum (aka my bedroom shelves.) Today my curatorial cabinets are filled with more refined historical oddities and memories of my travels.

Table Of Contents

1. About La Specola Museum
2. Hours, Access and Admission
3. History of the Museum of Natural History in Florence 
   • Cabinets of Curiosity
   • Museo di Fisica e Storia Naturale
4. Guide to the Museum
5. Mineralogical Rooms
6. Zoology
   • Conte di Torino
7. Hall of Skeletons
8. The Specola Anatomical Waxes
9. History of Anatomical Waxes
   • Leonardo da Vinci
   • Wax Workshop
   • Material Required for the Models
10. Clemente Michelangelo Susini 
11. The Anatomical Venus
    • The Birth of Venus
    • "Gentleman's Collectables"
12. Memento mori
    • The Waxes of the Plague

About La Specola Museum

The Museo di Storia Naturale di Firenze is also known as ‘La Specola’ is considered the oldest scientific museum in Europe. It was the first public Cabinet of Curiosities turned museum. But what you’ll find inside isn’t for the faint-hearted. The most infamous items on exhibit here are 18th-century anatomical wax sculptures! If you’re interested in an alternative kind of museum in Florence that features incredible medical history treasures, then this is the place for you! Be warned, this post features many pictures of the anatomical wax models so proceed with caution if that isn’t your thing.

Hours, Access and Admission

Hidden away, behind the walls of the Pitti Palace, is the Museum of Zoology and Natural History which contains the La Specola collection. As with many places in Florence, the best way to get there is on foot. But in case you are coming from further away, both Bus #11 and Bus C4 stop within less than 5-minutes of the museum’s entrance.

Admission: Adults €6.00 | Children €3.00

Hours: Tuesday to Sunday 10:30 am to 2:30 pm Closed Mondays (be sure to check updated schedule changes due to COVID restrictions.)

History of the Museum of Natural History in Florence 

The history of the collection dates back to the 18th century with the infamous Florentine family, the Medicis. The House of Medici was an Italian banking family and political dynasty that practically ruled Italy for centuries. The Medicis produced four Popes of the Catholic Church and several highly influential Dukes. There really isn’t anywhere or anything in Florence which doesn’t owe a part of its history to the Medici’s. The family had a great passion for art. Through their patronage, many icons of the Renaissance were created. But in addition to art, they were passionate collectors. Their collections included fossils, animals, minerals, exotic plants and medical curiosities, including wax anatomical models.

Cabinets of Curiosity

These collections of random objects were called ‘Wunderkammer,‘ German for Cabinets of Curiosities. These cabinets contained objects belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art and antiquities. The cabinets themselves were often enormous. Beautiful gilded wooden creations. They were often embellished with mother of pearl inlays, elaborate paintings and gilded mirrors. The mirrors which served as backdrops to the cabinet made even the smallest collection look much larger.

High Society Entertainment

Cabinets of Curiosity emerged in the sixteenth century. They were mainly found inside homes of wealthy rulers, aristocrats, members of the merchant class and early practitioners of science. Aside from the scientists, the private collections didn’t really reflect the passions or interests of the owners. Instead, the contents were meant to impress and entertain guests. If you had a very rare item, your guests would be amazed. Back then, long before Netflix or cable TV, the way you could travel around the world while still at home was by viewing these awe-inspiring cabinets. The more items you had and the more unusual they were, the better it reflected your high rank in society. Only the rich were able to possess such treasures.

Gentlemen’s Clubs were also popular places to find rich Cabinets of Curiosities. Different members of the group would bring in additional items to add to their outstanding group collection. During large meetings, the discussion around newly added items would be the talk of the town!

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Museo di Fisica e Storia Naturale

In 1771 Grand Duke Peter Leopold founded the Imperial Regio Museo di Fisica e Storia Naturale. This would be the Imperial-Royal Museum for Physics and Natural History which was eventually nicknamed, “La Specola.” “Specola” is the Italian word for observatory, a reference to the astronomical observatory founded here in 1790.

Many of the items he acquired for this museum were either on loan from the Medicis or gifts to the Grand Duke. When it opened in 1775, it was the first Cabinet of Curiosity open to the public. Many of the lower classes would never have seen something like this before. And seeing these collections in person would have been a wildly exciting event. Many Royal societies viewed the museum as a means of promoting knowledge of the natural world. And spreading that knowledge outside of just the academic classrooms and into the public.

Guide to the Museum

Hidden away along the Via Romana is a large, stone archway with two huge wooden doors. Aside from a small hanging poster on the side and the words “Museo di Storia Naturale di Firenze” above the entrance, you’d hardly give this place a second look. But this is indeed where you can head inside to discover the treasure within. Passing through the same gateway people have walking through for over 250 years.

Mineralogical Rooms

The museum contains 34 separate small rooms spread out around the building. Inside each, you can discover an array of different specimens. The first room you can explore is the mineralogical room. Here, the University of Florence offers a glimpse into the world of minerals and rocks. There are over 50,000 specimens from all over the world, including meteorites!

Zoology

The next set of rooms contains the Zoology collection. There are three and a half million specimens in the group, but only 5000 are on view to the public. The rest are in storage. All of the animals on display are stored inside large glass cases along the walls. Everything from invertebrates to more evolved mammals can be found here.

The mollusk collection even includes mother-of-pearl objects taken from the Medici collection. The Specola collection of birds features winged creatures from all over the world. They even showcase extinct breeds from the 18th to the 20th century. Their gorgeous brightly coloured feathers looking more like art objects inside those glass cases.

The reptile room features giant turtles from the Galápagos and even a mummified crocodile from Ancient Egypt. One of the most famous pieces in the collection is a stuffed hippopotamus! The hippo was once a Medici family pet who lived inside the nearby Boboli Gardens.

Conte di Torino

The Conte di Torino hall is where you’ll find a collection of the Royal Family’s hunting trophies. Rhinos, antelopes, baboons, a tooth of a narwhal, and an arctic cetacean are all parts of this collection. Bringing these unique creatures back from far away lands was another way that rich families were able to show off their wealth and access to guests visiting their homes.

Hall of Skeletons

The Hall of Skeletons is open only on special occasions or with a guided tour by appointment. So it’s definitely worth asking when entering the museum if the room will be open or if a guided tour is available. Inside this large room are the skeletons of numerous animal species. The most iconic of which is the reconstruction of a huge humpback whale hung from the ceiling. In the centre of the room are the bones of several small elephants. Lining the glass cases on either side of the room are more birds, fish, reptiles and mammal skeletons. This includes several monkeys and even a few human skeletons.

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The Specola Anatomical Waxes

But the real reason that people come to visit La Specola is to see the Anatomical Historical Waxes. The museum in Florence is home to the most extensive collections of anatomical with over 513 wax models on display. Twenty-six of these specimens are full life-size figures. The rest of the smaller sculptures are of one particular area of the body, shown in full anatomical detail. Each of the life-size models is housed inside a beautiful wooden framed glass case. The walls around the exhibition space have beautiful framed watercolour and pencil drawings. These were used before the modellers before working to create the incredibly lifelife wax models.

History of Anatomical Waxes

In the 16th century, during the height of the Renaissance, both artists, scientists and physicians began in-depth studies of the human body. Artists used these studies to refine the realism of the body in their paintings. Physicians aimed to discover a myriad of different secrets hidden within the human body. Until now, the Catholic church had banned the dissection of the human body. The church viewed dissection as sacrilegious. Because of this doctors didn’t have the chance to understand even the structure and physiology of the human body. But during the Renaissance, these bans were lifted, and the dissection of cadavers for science and art began. 

While corpses were helpful, they were also temporary. There was no modern temperature control to keep bodies from decomposing rapidly. In addition to this, the supply of corpses was slow and unpredictable. Most people during this time didn’t want their bodies donated to science. Many people still viewed this kind of dissection as an affront to their dignity. As a result, some doctors even turned to grave robbing to aquired bodies to dissect. 

Leonardo da Vinci

Inspired by Michelangelo‘s use of wax to make minature models, Leonardo da Vinci started to create his own wax studies of the human anatomy. Even before dissection was legal for doctors, Leonardo was permitted, by Papal decree, to dissect human corpses. This was performed at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. His 240 detailed drawings were some of the first images of the human skeleton, musculature and ligaments ever published—a revelation to all doctors and physicians.

But Leonardo wasn’t finished with mere drawings. He began creating models of the cerebral ventricles using melted wax. Leonardo even went so far as to constructed a glass aorta to observe the circulation of blood through the aortic valve.

Wax Workshop

With this new revelation of using wax to model the most minute details of the human body, the art of modelling wax became a widespread practice throughout Europe. By creating these wax models, doctors could study the body for whatever amount of time they required without worrying about acquiring any actual human corpse. And it was right here in Florence where the capital of wax plastic workshops was located.

In 1771, the Grand Duke Leopold of Tuscany opened the wax workshop as a part of the Natural History Museum. Here wax modellers would make the lifeline sculptures, and physicians would gather to teach anatomy to students. The wax models were created as a kind of three-dimensional atlas to the human body.

Material Required for the Models

The models were made primarily of beeswax. Beeswax was the best material to use as it has a slightly translucent appearance, just like human flesh. Dyes were added to give the appearance of flesh, blood and tissue. Because the models are made of literal wax, the temperature inside La Specola is highly monitored. Any spike in the temperature could result in the models melting. Let’s hope they have a good generator in case of a summer power outage!

Clemente Michelangelo Susini 

The most famous of all wax-modellers was Clemente Michelangelo Susini. Unlike other modellers, Susini’s models were not only realistic but beautiful. Like living works of art. The models postured into artful poses. As if plucked from a Renaissance painting. Many praised him for “the beauty which he gave to the most revolting things.” He began by creating male sculptures. He based these works on postures and sculptures by Michelangelo. They stand or recline tall and proud, despite their flesh being peeled away, revealing the veins and muscles below the skin.

The Anatomical Venus

One of the most popular forms of wax models was that of the female anatomy for use in obstetrics. Women were dying of childbirth at an alarming rate. The thought was that if they could understand more about the internal functions during pregnancy and the process of birth, they could help prevent many deaths. And they were right! These female models had removable cavities that would reveal internal organs. Their stomach could be peeled back to reveal the fetus inside the pregnant mother. Midwives would use them to study more about problematic pregnancies. This gave them the opportunity to work through ways in which to save both the mother and the child.

The Birth of Venus

Susini’s female models began to be known as Susini’s Vénus Anatomique or Anatomical Venus. Just as Boticelli painted the beauty of the goddess in this Birth of Venus, Susini used wax to bring this otherworldly vision to life. They were thought to be more artistic masterpieces than medical specimens. Their faces were utter perfection, flushed, with lipstick and vivid gaze. Susini was inspired by the Ecstasy of Saint Teresa by Gian Lorenzo Bernini. He took much inspiration from that sculpture and gave Mary’s impassionated appearance to all his model’s expressions.

The idea of seeing beauty in the grotesque was something only done in the Italian workshops. Most other countries weren’t interested in creating works of art. Instead, models produced in the UK, Germany and the Netherlands appeared more lifeless and clinical. But that is what makes the specimens inside La Specola so precious and unique.

“Gentleman’s Collectables”

The position of their bodies was almost sensual. Reclined, their legs gently bent, as if calling you towards them. Despite most of the women being used to display pregnancies, their bodies don’t look pregnant at all. Instead, they were designed to look like a “man’s ideal beauty.” Looking into their crystal clear eyes, you’ll see coloured irises looking back at you. As lifelike as your own. Their lips were slightly pursed. Their hair and eyelashes on their forms were both taken from human donations.

The women’s glass cages are complete with lush velvet cushions and mattresses. Their waxy bodies are propped up with pillows derated with silver and gold tassels. Not a penny was spared to ensure their comfort, giving more credence to the lifelike nature of these beings.

With the advent of more advanced photographic technologies, the use of wax models in academic settings began to decline. Schools began to sell off their models after they were no longer of use as scientific teaching instruments. Museums like La Specola held onto them for historical purposes. But the Anatomical Venus began to see another life as darkly erotic “gentleman’s collectables.”

Memento mori

In addition to the lifelike wax models, the museum is home to three minature wax compositions. These were made by Italian artist Gaetano Giulio Zumbo. These wax models were commissioned by Grand Duke Cosimo III de ‘Medici between 1691 and 1694. These sculptures were meant to be grotesque representations of the macabre. During this period of the seventeenth century, the aristocrats were obsessed with these kinds of frightening scenes. Memento mori (Latin for ‘remember that you have to die‘) was a popular trend at the time. It was an artistic or symbolic reminder of the inevitability of death. A reminder to people to live fully while you have the change. These works of art in the memento mori oeuvres are invitations to reflect on the transience of earthly existence. 

The Waxes of the Plague

The diorama on exhibit here depicts a grisly scene during the epidemic of the plague. Green rotting corpses are strewn on top of the other in the street. As if simply discarded. The plague epidemic took lives without rhyme or reason. The elderly lie on the road, along with the young and even children. A lone living creature is seen in the corner of the scene, holding the body of a fallen comrade. His face crying out in horror and despair.

The scene looks more like a portrait of war than a disease. These creations were often dramatized for a more intense emotional effect upon looking at them. Zumbo also created wax depictions of the spread of syphilis, the corruption of bodies and the Triumph of time. While we would never think to put works of art this dark on display in our home, back in the 17th century, this was the kind of thing that was commonplace to see. Both in art and in real life!

If you find yourself in Florence and are looking for a unique place that will leave a real impact, you must check out La Specola Museum! While the macabre nature of these wax models might not be for everyone, for those interested in the history of medicine, art, and the beauty that can exist side-by-side death, this is the place for you.

Happy Travels, Adventurers!

end

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#1 The Musée d’Orsay | Paris, France

The Musée d’Orsay is centred right in the heart of Paris, the city of love. It is filled with romantic masterpieces and alluring impressionist paintings. The museum is housed in what used to be the Beaux-Arts train station built in 1898. Elements of the old train station can still be seen throughout the museum.

This museum gets its reputation as one of the most romantic museums since it houses the largest impressionist and post-impressionist paintings in the world. Works of art from Monet, Degas, Manet and Renoir decorate the walls of the museum. These soft and subtle paintings lull you into a sweet and sensual world. No one can stand in front of Monet’s Lily Pond and not be transported. And Renoir’s scenes of passionate delights in the Dancing at the Moulin de la Galette in Montmartre makes you want to grab your partner’s hand and dance the day away yourself.

Google Galleries

Through the Google online galleries, you can see works from Monet, Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin, and Van Gogh. Zoom right in to see the tiny textures of the brush strokes. You can study the gentle expressions on even the background characters’ faces! Getting this close to these famous paintings is something you can only experience online.

#2 Museum of Broken Relationships | Zagreb, Croatia

An art collection dedicated to the end of a relationship might seem like an odd choice when listing off Romantic museums. But the Museum of Broken Relationships is one of the most emotionally resonant places in the world. Whether they are stories of sadness, anger or sentimentality, each piece in the museum tells the story of the power of love. And how it can change your life forever.

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Right now, the entire collection of the Museum of Broken Relationships is now up online. We’ve all experienced aspects of these stories in our own lives, and it’s only in learning from them that we can grow. Valentines doesn’t have to be celebrated just by those in a relationship, but also by those who love themselves. Even if you’re single or going through a painful breakup, there is a sense of community and understanding surrounding you, even in this online gallery. If you are in a relationship, reading through these might be the icebreaker you need to share your own stories. It might allow you to open up in ways you might not expect.

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#3 The Louvre | Paris, France

The Louvre is home to some of the most romantic sculptures from around the world. Whether is the Winged Victory of Samothrace or carvings of Eros and Psyche’s carving by the illustrious Antonio Canova or the famed Venus de Milo the museum is filled with passionate treasures.

You can view the entire museum in 4K through the virtual video tour below! Pause as you go and discuss with your Palentine, lover or partner when something catches your eye – for better or for worse! There is so much to learn from discussing art. You don’t need to be an art historian or scholar to talk about it either. This easy couch viewing is a great way to discover what you love and what interests you. And then once the world opens back up again, you can go out and pursue more of that!

#4 V&AVictoria and Albert Museum | London, England

Queen Victoria and Prince Albert had one of the most poetic relationships in English history. Most court marriages are arranged to secure political alliances, so it’s rare that we see a case of true love in the monarchy. Queen Victoria loved Prince Albert so profoundly that after his death, she wore black for the rest of her life in honour of his passing and the overwhelming grief she felt in his absence. She built this museum to honour his memory. He always wanted the people to be knowledgeable and share in the riches of his kingdom. Here, at the V&A, the public can view the treasures of England’s past, present and precious objects from around the world.

Gifts of Jewels

Some of the most romantic parts of the collection include illustrated manuscripts of famous love songs from the Renaissance and sultry sculptures depicting some of the greatest love stories from antiquity. The V&A also houses over 3,000 pieces of jewellery, many of which were given as tokens of love. Here you can look down at medieval love rings, a pendant given to Elizabeth I from one of her lovers and sparkling tiaras worn by princesses on their wedding day. Their fantastic jewellery collection has all been documented online for your viewing pleasure. See what your partner thinks is your style or pick out your favourites piece for a friend as you pretend to be princesses!

#5 The Uffizi Museum | Florence, Italy

The building we now know as the Uffizi Museum didn’t start off as a museum at all. It was once the palace of Cosimo I de Medici, designed by Giorgio Vasari. These two names, Vasari and Medici, are perhaps the two most essential words in art history. The Medici family was one of the wealthiest families in Florence and shaped the history of Italy and art history forver.

Although not famous for paintings, Vasari is whom we refer to as “the first art historian.” He created an almost complete book called The Lives of the Artists. He grew up with Michelangelo, Donatello, Titian, Leonardo Da Vinci, Raphael and hundreds more. His biographies are annotated with juicy pieces of gossip and personal anecdotes, which provide a glimpse into these historic artists’ real world. His love for art was unending. The same goes for the Medici’s. Although it might not be love between two people, these people’s devotion and affection for art and artists run deeper and more profoundly than many human romances.

Google Galleries

10 of the museum’s most popular galleries are now on display on their website in 360°! You can virtually walk through the gallery and zoom into each painting along the wall. If you are interested in learning more about a specific picture, then head over to Google Art and Culture Galleries. Over here, you can click on any image that catches your eye. It will bring you into a detailed description of the piece and more information about the artists. They also have a few online exhibitions. One of these walks you through every last detail of Piero di Cosimo’s famous panting “Perseus Freeing Andromeda.”

#6 Belvedere Palace and Museum | Vienna, Austria

The Belvedere Museum was once a vast baroque Palace, home to the ruling Habsburg dynasty and built for Prince Eugene of Savoy. The Prince always loved art and started collecting at a young age. In 1781 the Prince opened up parts of his imperial collection up to the public. Over the years, the state collection grew and grew, and in 1903 the Moderne Galerie was opened as a public museum. Its curator, a subordinate to the Minister of Culture, made sure to acquire art from all different epochs representing a wide breadth of art from Austria’s history. 

But what makes this museum worthwhile on our virtual journey through romantic museums is its collection of Klimt masterpieces. His pièce de résistance is entitled The Kiss and is widely thought of as one of the most romantic and passionate paintings ever made. Klimt was a fiery painter and lover. His favourite subject was the female body, and his works are all marked by intense eroticism. The Kiss depicts two figures joined together in a tight embrace as they stand on the edge of a cliff. Even the shape of the Kiss has suggestive symbolism. The man and woman together form the shape of a phallus – it doesn’t get more on the nose than that.

Google Galleries

Google’s Arts and Culture contains Belvedere’s complete collection of digitized artwork for you to view and read about. They also have an excellent digital exhibition on ‘The Kiss.‘ I was lucky enough to see this work of art in person and was absolutely mesmerized by it. Getting the chance to learn a little bit more about the painting was a great way to recall some of those treasured memories.

Belvedere’s Online Gallery

One of the most unique features of Belvedere’s online gallery is its use of augmented reality. You can visit their website and use an app on your phone to study a series of Egon Schiele’s paintings in greater detail. When you use your phone to scan the image on the screen, it will trigger an audio track that guides you through the work of art. You can also use your phone as a scanner, using infrared technology to uncover hidden secrets beneath the finished painting.

#7 Louisiana Museum of Modern Art | Øresund Sound in Humlebæk, Denmark

The Louisiana Museum of Modern Art is in a world of its own. Unlike most museums, it’s not in the centre of a big city. To get here, you have to take a train from the centre of the town and travel out to the calm countryside—a perfect weekend getaway for you and your loved one. The idyllic, breathtaking landscape surrounding the museum is in itself what makes this place so romantic.

As you approach the museum, you wander through a small Danish waterside fishing village. You pass little cottages and tiny farms when suddenly you come upon an unassuming yet contemporary looking building. The sound of water can be heard in the distance, and as you pass through an archway of trees, you come upon the museum’s entrance.

Outdoor Modern Art

Inside is a mixture of indoor and outdoor exhibitions. The combination of art, architecture and scenery is impeccable. You weave through the collections at your own pace. The outdoor sculptures are hidden among the trees and seem like a little secret you can discover along the way. The way you view the art is a very personal experience. Modern art can be challenging to define, and it is more up to the viewers on interpretation. Discussing the ideas and emotions that each piece brings forth inside you and your partner is such a bonding adventure. One that is sure to spark some passionate feelings.

Outside Suburbia has an excellent virtual written and photographic tour that guides you through the museum in the most charming and captivating ways. The short video I’ve inserted below was filmed by the museum and gives you a glimpse of the incredible outdoor sculpture gallery. Another great way to experience a part of this collection from your sofa at home.

#8 Rodin Museum | Paris, France

The Rodin Museum houses a collection of works from its namesake, Auguste Rodin. Rodin was one of the first sculptors of his age to depart from traditional sculpting methods (generally thought to be overly perfect and unrealistic). He loved imperfections and wanted to depict a truer to form a representation of the human figure. Instead of stiffly posed allegories, we were suddenly exposed to voluptuous, undulating women with wills and desires of their own. Like Klimt, Rodin was an intensely passionate man and this vigour can be throughout his work. Rodin had a love affair with love itself, and all of his pieces speak to a visceral part of ourselves. They awaken us. And for the lovers, they might ever enliven something else…

While The Kiss is the most notable sculpture by Rodin, many others deserve their moment in the sun. Nymphs Playing, Eternal Idol and The Cathedral are all splendidly tender pieces that bring me to my knees. And best of all, they each have been captured virutally to be viewed online.

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Rodin’s Sculptures

Many of Rodin’s sculptures are carved in what feels like a fiery outburst. Like the figures burst forth from the stone. They are partly unfinished, as love itself as an unfinished masterpiece, never to be fully understood. That sense of mystery is what fuels the fire of love and keeps us intrigued and impassioned.

To see a complete collection of his work online, head off to the Google Arts and Culture collection. Here you can select the pieces which pique your interest and find out more information on them. To get even more insight into the artworks, you can head over to the Virginia Museum of Fine Arts (I know, a little bit of a detour). This museum also holds various copies of Rodin’s pieces. They offer amazing audio guides to each of the sculptures.

These audio tours are a great way to learn more about the artists and the object. If you’d rather sit back and watch something then the video below is a relaxing tour of the museum set to romantic music. While the video was shot a while ago, I find the footage to be a lovely and nostalgic view of the gallery, in all its simplicity and grace.

#9 Thorvaldsen Museum | Copenhagen, Denmark

This won’t be on many other lists. It’s a bit of a wild card. And I think I like that. It’s nice to have something a bit out of the ordinary at the top of the list because if it wasn’t, you could be reading this anywhere else. Thorvaldsen is a mostly unknown name outside of Europe. Still, within the continent, he is among some of the most famous sculptors! Thorvaldsen was born in Copenhagen in 1770 to poor parents, but lucky for him his father was a carver. From a young age, Thorvaldsen learned to sculpt; his eyes would trace over an object and he would memorize its lines and curves. From only his memory he could then copy the form onto a piece of wood almost perfectly.

He learned to appreciate the subtle curvatures of the human body. Eventually, his skills were recognized by the art community. He got a scholarship and the opportunity to travel to Rome. There, he studied under some of the great masters and worked there until 1838. When he was in Italy, he took on many prestigious clients and commissions. When he finally returned to Denmark, heralded as a national hero, a museum was built in his honour to house his works. Unlike many artists who never get to see their creations loved by the public, Thorvaldsen had the opportunity to see the museums built from the ground up and watch the people come to admire his artworks.

Neo-Classical Sculpture

The basis of Thorvaldsen’s oeuvre is Neo-classical art. Greek and Roman myths created the universe where his art lived. The characters and stories he told through still marble still manage to move the most hardened heart. Cupid, one of the most notorious symbols on Valentine’s Day, is celebrated throughout the Thorvaldsen’s Museum. So many of his sculptures are so sensual in nature. The way he can turn hard stone to butter to capture the softness of skin and the brush of a caress.

Google Arts and Culture have a beautifully digital collection of his sculptures that you can view online. They also have the museum captured in 360 in google street view, so you can walk through the museum yourself to discover treasures around every corner.

You can also head over to my blog post, where you get a complete tour of the museum and detailed descriptions about the objects and the artist’s history. It’s a wonderful companion to Google street view and will make you feel like you’re really there!

Hopefully, this list gave you some ideas of how to find that sense of wanderlust even amid this pandemic! Sometimes you just need to get a little creative. Let me know in the comment what your favourite romantic museum or gallery is!

Happy (virtual) Travels, Adventurers!

The post The Most Romantic Museums to Visit Virtually on Valentines first appeared on The Creative Adventurer.

Table Of Contents

1. British Museum
2. The Mütter Museum
3. National Portrait Gallery
4. The Field Museum
5. The Wallace Collection
6. Van Gogh Museum 
7. Frick Museum
8. Rijksmuseum
9. The American Museum of Natural History
10. The State Hermitage Museum
11. V&A
12. MET

British Museum

The British Museum in London, England, is where you can find over two million years of human history and culture. It contains some world-famous objects, including the Rosetta Stone, the Parthenon sculptures and Egyptian mummies. 

Curator’s Corner

Their youtube series called ‘Curator’s Corner‘ introduces you to the various curators working in the museum. They take the time to show you different interesting objects from their specialties. And most of the videos are set, literally in their “corner” or office space. This is just another little treat since you feel like you are being let into their private world. Never to be seen otherwise. One of my favourite curators is Naomi Speakman, who is the curator for late medieval Europe. She loves exploring the fantastical world of medieval bestiaries and the mythical creatures found within. Seeing as these items are so old it’s amazing how she breathes new life into them!

Curator’s Tour

Since many museums’ exhibitions were not viewable to the public when the world shut down, the curators turned to online video to take viewers on a tour of their displays. These tours come in both shorter videos and live tours, which are hour-long specials hosted by various experts. It’s such a unique way to view these incredible exhibitions despite not being there in person.

The Mütter Museum

The Mütter Museum is America’s Finest Museum of Medical History. The museum aims to help the public appreciate the mysteries and beauty of the natural human body. The museum hopes to help people learn more about the diagnosis and disease treatment throughout history. Inside the museum, you’ll find some of the most incredible collections of anatomical specimens, medical instruments, cabinets of curiosity and more!

While the museum is not for the faint-hearted, their videos are an extraordinary adventure! Especially when we are amid a world-wide pandemic, their exhibitions on the 1918 Influenza Pandemic seem almost eerily apt. Their half-hour-long museum tour is an excellent introduction to what the museum is all about and worth your time to check out!

National Portrait Gallery

London’s National Portrait Gallery has been one of the most important art institutions since 1856. But today, with modern technology, we are being invited into the museums to discover the stories behind the world’s greatest paintings and artists. Their online youtube channel contains interviews with leading art experts, live recordings of talks and events, and insights into our latest exhibitions. 

10 minutes Talks

Their 10-minute talks series is one of my favourites for anyone who wants to get a little primer into art history but doesn’t want to get overwhelmed with information. These short segments study just one painting by one artist. Different curators and producers from the museums lead you through the artwork, the hidden meanings and any historical context which lends itself to studying the painting with more intention.

5-Minute Meditation

Another fascinating tidbit that they have been producing during the pandemic are these 5-Minute Meditations. This series is all about blending mindfulness and art appreciation. You grab a water or coffee and sit back with the gentle voices of the curators guiding you through the lines and textures of the painting as you have moments of self-reflection throughout. I have to admit; they are so soothing, they might even put you to sleep!

Talks for All

Lastly, if you are looking for something a little more in-depth, you can sit back and enjoy one of the longer videos called Talks for All. These lectures were initially recorded in the gallery in front of an audience, but now you can attend as an audience of one from the comfort of your own home. Something is oddly comforting about hearing the murmur of laughter or contemplation from the unseen audience in front of the lecturers. It makes you feel like you are really there.

The Field Museum

In Chicago, the Field Museum has been producing videos with the Chief Curiosity Correspondent for Youtube for the past eight years! Hosted by Emily Graslie, former volunteer of the University of Montana Zoological Museum, her heart burstingly charming personality guides you through all different parts of their collection. In such a large museum like the Field Museum, there are plenty of aspects of their collection that aren’t even on display in the museum but hidden away in the archives. Well, these videos put you behind the scenes in some of the unseen parts of the museum. One of my favourite episodes is all about their rare book room! There are also such topics as the Whale Warehouse, museums taxidermy, meteorites and more!

The Wallace Collection

The Wallace Collection is a museum in London, housed in the grand Hertford House in Manchester Square. This was once the permanent residence of the Seymour family, the Marquesses of Hertford. The Marquesses of Hertford, along with Sir Richard Wallace, for whom the museum is named after, amassed a vast collection of fine and decorative arts in their lifetime. These ranged from furniture, arms and armour, porcelain and Old Master paintings. Sir Richard Wallace bequeathed the collection to the British Nation in 1897 so that everyone could enjoy the collection.

Today, it really can, as much of the collection has been documented on video for all to see. Their playlist on the collection highlights is an excellent intro to all the wondrous things these collectors amassed over time.

Van Gogh Museum 

The Van Gogh Museum in Amsterdam is a museum dedicated solely to the works of Vincent Van Gogh. Famously, Vincent van Gogh only ever sold one painting during his lifetime, ‘The Red Vineyard.’ Today he is one of the world’s most notable painters, with his works selling for millions upon millions of dollars.

Throughout the pandemic, the Van Gogh museum has not only been creating entertaining videos for you to watch but tutorials for you to follow along with and learn as you go. Their series called ‘Let’s Paint Like Van Gogh‘ helps even the most beginning painter learn the simple techniques Van Gogh used to create his vivid and powerful masterpieces. They manage to simplify iconic parts of some of his paintings to allow you the chance to create your own at home!

In another series called ‘In the Picture,’ curators take you through their 2020 exhibition, which tells stories about identity and image, in 75 portraits.

Frick Museum

The Frick Collection in New York City houses the personal art collection of industrialist Henry Clay Frick. The museum is even located inside his old house on the Upper East Side. In addition to some old master paintings, the collection also includes fine furniture, decorative arts and more. Their 12-minute video introduction allows you to step inside the doors and look at the house almost as it was when Frick left it.

During the pandemic, they created many videos that allowed people to view their collection through a myriad of different themes. One of those series’ was called ‘Travels with a Curator,’ where curator Xavier F. Salomon, takes you on a virtual trip around the world. In the series, they study museums around the world and how they connect with the Frick Museum.

Rijksmuseum

The Rijksmuseum, located in Amsterdam, is the Dutch National Museum. Inside its great walls are pieces dedicated to the arts and history of Amsterdam. At the start of the pandemic, the Rijksmuseum wanted to give viewers worldwide access to the secrets of their galleries, so they started the series #RijksmuseumUnlocked. Throughout the series, various curators lead you through different parts of the museum to study themes and hidden meanings behind highlights from their collection.

Their newest series is called ‘Rijksmuseum in 60 seconds‘. These videos allow you to learn more about their collection in just one minute!

The American Museum of Natural History

The American Museum of Natural History, located in New York City, is one of the world’s preeminent scientific and cultural institutions. Since opening its doors to the public in 1869, the museum attempts to help people discover and interpret information about the natural world around us. My favourite video series of theirs has got to be ‘Shelf Life‘! This series is relatively old, starting in 2014. The series is for curious minds and features curators opening doors, drawers and hidden away rooms to study rarely-seen items in the museum’s collection.

The State Hermitage Museum

I have long dreamt of visiting the Hermitage Museum, delving into the dark Russian winter only to wander the halls of this incredible fortress of beauty. The State Hermitage Museum is located in Saint Petersburg, Russia and is the second-largest art museum in the world! The collection was founded by Empress Catherine the Great and contains over three million items! And while you might not be able to view each one of those items in person, you can experience it through an AMAZING virtual tour!

In May 2020, Apple created a five-hour cinematic journey inside the Hermitage museum. Throughout the videos, you are lead through 45 galleries, view 588 masterpieces, and wonder at the beautiful live performances which take place inside some of their most sacred spaces. Even more incredibly, the video was shot in ONE CONTINUOUS TAKE! The music composed throughout the video is so hauntingly beautiful, and I cannot recommend watching this piece more! You don’t need to watch all five hours, but I think once you start watching, you’ll find yourself entranced.

V&A

The Victoria and Albert Museum (also known as the V&A) is the world’s leading museum of art and design. Founded in 1852, the V&A promotes innovation and communicates the importance of good design. The collection contains over 2.27 million objects, dating from 1600 to the present. This video, hosted by curator May Rosenthal Sloan, explores vintage citrus fruit wrappers as new forms of advertising in the 19th century. This was the video that first started my binging of the V&A’s youtube channel. The packaging feels so ephemeral and yet like a work of art all at the same time.

So many objects in the V&A’s collection are small trinkets. And while seeing them in person is a beautiful experience, being able to study them in microscopic detail on video is a unique experience. One of my favourite videos is called ‘Spotlight on Jewels‘. Academy Award-winning costume designer Alexandra Byrne, jewellery designer Stephen Webster, British Vogue jewellery editor Carol Woolton and V&A curator Clare Phillips come together in this feature to reveal their favourite items from the collection.

MET

The MET or Metropolitan Museum of Art is America’s most famous art gallery. Located in the heart of New York City, the collection is home to over two million works of art! with so many objects in their collection and a slew of curators to keep it all running, the content they are producing online is superb! Their ‘Art, Explained‘ series is a beautiful way to pick your favourite items from the collection and learn a little bit more about them in a concise amount of time! There are over 80 items that have been documented in the videos, so there are lots to choose from.

Another series which I love is called ‘MET Stories‘. This 12-part series features stories from all different kinds of people, from chefs, fashion designers and even lawyers, telling stories about how the MET influenced or changed their lives.

Throughout the pandemics, the MET has also been creating videos that spark their viewers creativity. This is everything from learning how to make a soap carvings, sculpturing clay pots and my personal favourite, creating your cabinet of curiosity!

Hopefully these entertaining channels give you something to watch and inspire your mind throughout the rest of this pandemic. While we have to stay at home, we can still explore the world through these virtual travels!

The post 12 Incredible Youtube Museum Channels You MUST Watch first appeared on The Creative Adventurer.