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.

It was her sanctuary but also her cage since for most of her life she was bedridden from injury and sickness. She spent more years inside these blue walls than perhaps anywhere else in the world. As such, it is one of the most intimate looks into her life that you can experience.

Self-Guided Tour of Casa Azul

1. Access
2. Hours
3. Tickets & How to Avoid the Lines
4. Frida's Neighbourhood of Coyoacán
5. Biography of Frida Kahlo
6. Frida and Diego
7. Start of the Self-Guided Tour of the Casa Azul
8. Touring the Exterior
9. Entry
10. Gardens
11. The Pyramid
12. Looks are Deceiving Exhibition
13. Sitting Room / Gallery
14. Dining Room
15. Diego's Bedroom
16. The Kitchen
17. Stairwell
18. Frida's Studio
19. Day Bedroom
20. Night Bedroom

Tickets & How to Avoid the Lines

Everyone seems to go on and on about the lines at Casa Azul. And yes, there are lines. But there are also lines at the Louvre, the MET and other famous museums around the world. There are lines wherever you find places which inflame the public’s imagination and curiosity to see what’s inside. So don’t be surprised, just be prepared. The best way to do this is by purchasing your tickets in advance. You select the date and time you want to arrive. When you get to Casa Azul you hop into pre-purchased ticket line (which is much shorter). Sometimes with your pre-purchased admission, you can just walk right inside.

Tickets cost 230 pesos ($12 US) on weekdays and 250 pesos ($13 US) on weekends. If you want to take pictures and some videos, you need to pay an extra 30 pesos ($1.50 US). Videos are not allowed inside but are ok in the outdoor areas.

Frida’s Neighbourhood of Coyoacán

Coyoacán is a small, quiet neighbourhood on the southern end of the city. It was once nothing more than a humble village but as Mexico City expanded, Coyoacán was absorbed into the megacity. The name comes from the Aztec word, which means “place of coyotes.” The streets are some of the oldest in Mexico City, full of colourful colonial architecture which gives it that bohemian feeling it became synonymous for. Frida’s father, an artist and famous photographer, found this quirky neighbourhood appealing. For more on Coyoacán check out my self guided walking tour!

Biography of Frida Kahlo

Frida Kahlo is one of the best-known female artists of the 20th-century. Her art is most notable for being full of ideas about sex, death, the body, gender, postcolonialism, class and race. All these ideas culminate in some of the most fantastic surrealist paintings which are anything but ordinary. Frida was born in 1907 inside the Casa Azul. The house was built by her father in 1904 and would be an emotional touchstone for young Frida. Both her mother and father had had some horrible events in their lives before Frida was born. Her father’s previous wife died in childbirth. And her mother’s ex-lover killed himself in front of her to profess his undying love. It’s impossible not to wonder how these powerful moments imprinted themselves into the family. Perhaps resulting in Frida’s ill-fated, yet extraordinary life.

Frida’s Early Health Issues

At a young age, Frida developed polio which resulted in her being bedridden for many months. It also left her with a severe limp and one of her legs being slightly shorter than the other. Being home all the time as a child meant she was around her father. She followed him around his studio, where she learned all about the creative process and how to compose a painting. She began painting and drawing under his watchful eye. Without any sons of his own, Frida became his creative successor.

He enrolled her in an art school in 1922, where she initially met Diego Rivera who was at the time, was painting a mural in the university’s auditorium. She was enthralled with him as soon as she laid eye on him and his art. She was so sure of him being one of her conquests that and would tell her friends she was going to marry him, even before speaking one word to the artist.

The Accident

One the way home from school one day, Frida’s was caught in a severe bus accident. A train crashed into the bus she was on, and it practically exploded on impact. Various people died instantly, and a few died in the hospital. Frida was left for dead, the ambulance refused to take her to the hospital as they assumed she would be dead before they arrived. But Frida was a fighter although her injuries would leave her disabled for the rest of her life.

She underwent over 30 different significant operations. The hospital staff thought she would never be able to get out of bed again. But by the end of the month, she was taking her first steps outside. Years of surgeries and recovery meant being confined to her bed once more. Her father made her a custom easel where she could paint in bed while lying down. She used this time to paint portraits of herself, as a way to comprehend the reality of what had happened to her. As her painting improved, and she was able to walk freely, she knew she had to help her family financially. Her operations had cost them greatly, and she needed to find out if she could make a career out of her art.

Frida and Diego

Frida went with various pieces of her artwork to get a critique from the famous Diego Rivera. When she met inside him, she claimed it wasn’t to flirt or get his attention. She wanted harsh criticism from the iconic artist and learn how she could improve. Diego was quite impressed by her artwork and was immediately taken with Frida’s bold personality. Frida was not your typical beauty. She embraced her more masculine characteristics. Frida had a monobrow and a bit of a moustache, but instead of hiding it or trying to remove it, she flaunted it. Some people said that she was one of the great beauties others found her almost hideous. It was this juxtaposition of opinions that Frida loved, using her sexuality as the great divider.

Frida and Diego’s Marriage

After only a short period of knowing Rivera, the two were married in 1929. Her mother and father roundly objected to the marriage, and so the two of them had a small, civil ceremony, presided over by only by a hairdresser and homeopathic doctors. Their relationship was fiery and passionate — each one is inflaming the creativity of the other. Diego encouraged Frida’s penchant for wearing traditional Tehuana dresses they both viewed them as the most authentic part of Mexican heritage. They became a kind of uniform for her, which she would wear for the rest of his life.

Frida and Diego moved into the family home, the Casa Azul, as her father was no longer able to afford to live there due to his declining career. Diego was at this point, a wealthy and well-known painter and could easily afford to keep the home in the family. Before they moved into the house, the house was painted s a rather dull colour. Frida and Diego made it their mission to repaint the entirety of the house bright blue, making their mark on this space.

Love Affairs

Diego was a womanizer, and despite Frida’s acceptance to their open relationship, she found herself overcome with jealously when Diego had an affair with her sister, Cristina. The news of their affair devastated her. Frida suffered numerous miscarriages and eventually was told by doctors due to her injuries from the bus crash she would never bear children. Painting became everything to her, and it was like her artworks became her children. Frida explored more and more images from her Mexican heritage. She said that Mexico was her great mother who raised her. As she became a painter in her own right, she was less affected by Diego’s affairs. In fact, she began having her own set of relationships with men and women alike.

The longest of her affairs was with famed photographer Nickolas Muray, with whom Diego was furiously jealous. Although Frida ended up divorcing Diego in 1939, they got remarried only a year later. It seemed that no matter what happened between these two, they could not be without each other. While it certainly was an alternative lover story, I found that to be the real charm of their relationship. It’s not perfect, it’s not a fairytale, but it’s real and laid bare for us to witness in her artworks.

Frida’s Death

Despite her blossoming career, Frida’s health began to decline. Eventually, her old injuries only worsened to the point where she had to have her right leg amputated. Her pain was almost unbearable, and she attempted suicide multiple times to escape it. Diego built for her a second floor to the Casa Azul where she could paint and work without having to leave the house.

She eventually was bound to her bed along and passed away on July 13th, 1954, at the age of 47 in that very bed. Her body was brought to the Palacio de Belles Artes in the historic centre of Mexico City where hundreds of mourners came to pay their respects. During her lifetime she was known as the wife of famed painter Diego Rivera. But today it is HER who has become a part of popular culture and art history. Diego gave the Casa Azul over to the government of Mexico City and it was opened up as a museum in 1958.

Start of the Self-Guided Tour of the Casa Azul

Touring the Exterior

If you have to wait outside before heading into the centre courtyard, take a minute to observe the outer exterior architecture.

“The house, painted blue inside and out, seems to shelter a bit of sky.”

Diego and Frida painted the house this bright blue colour when they moved in. Colour was of the utmost importance to Frida in her life and in her art. This vibrant azure was a hue associated with the feeling of freedom and expansiveness, like looking out on the eternal sea. And for a woman who was often unable to leave her own four walls, a feeling of freedom was the difference between sanity and madness. The house, built-in 1904 by her father, was built in a typical Spanish style of the age with a central courtyard surrounded by various rooms all on one level. The original exterior had a bit of French flair, but Frida removed all these gaudy elements in exchange for the primitive and simplistic decorations inspired by the indigenous people of Mexico.

Entry

As you walk in the main gates, under the giant floral ofrenda to Frida, you’ll pass under various of Frida’s papier-mâché alebrijes. Alebrijes are brightly coloured Mexican folk art sculptures of fantastical creatures. They were originally created in 1930 by the artist Pedro Linares. Linares fell gravely ill and during his fever-induced hallucinations found himself dreaming of a strange forest full of wild and colourful creatures. He saw donkeys with butterfly wings, a rooster with horns and lions with the heads of eagles, all shouting the word, “Alebrijes“. When he recovered, he set to making the creatures out of wood to bring his visions into his reality. He was good friends with Diego and Frida, and she was inspired by his story and made some for herself. These somewhat terrifying creatures, now greet all guests who come through the doors.

Gardens

The first space you’ll enter is the lush gardens. Walking in here is literally a breath of fresh air! You can smell the blossoming flowers everywhere you walk, like a scented canopy. Frida made her gardens an almost sacred space. She took care of each and every plant very seriously, almost as if they were her children. She adored watching them bloom and grow. All the plants were harvested from all across Mexico, so it’s like a tiny snowglobe of Mexican horticulture in one place. You’ll find yuccas, bougainvilleas, cacti, jasmine and agave blooming throughout the year.

Across the walls of the courtyard are various pre-Columbian idols, as Diego loved collecting these treasures of Mexican heritage. He would go to the old ruins of Teotihuacan almost every weekend in his early life looking for artefacts he could bring home with him. The walls which supported the new second story, made by Diego and Frida, were created from lava rocks and embedded shells the couple found on the shores of the beaches of Mexico.

Frida’s Teaching Career

In this garden, Frida held classes for her students. She began teaching in 1943 at Las Esmeralda Art School, but she found it too hard on her disabled body to come to classes at the school in the centre of town. Her dedicated student, dubbed “Los Fridos” would come to La Caza Azul where she could mentor them under the shade of these great palm trees. Their time with the great artist in her intimate home was something that imprinted greatly on them.

The Pyramid

In the middle of the garden is a minature, red and yellow painted replica of an Aztec pyramid. This was built by Juan O’Gorman for Diego Rivera in 1946. The artist used materials like volcanic stones and basal to build the structure. Along the base of the pyramid are various replica ceremonial statues from places like Teotihuacan or Tulum.

Looks are Deceiving Exhibition

At the back of the courtyard is an exhibition room which contains some of the most personal items of Frida Kahlo. This exhibition is entitled, ‘Las apariencias engañan‘ or Looks are Deceiving. This exhibition features a treasure trove of Frida’s clothing, corsets, makeup and jewellery. All of these items were only discovered in 2004. When Diego handed the house over to the Mexican people for use as museum he asked that several bathrooms (which has been locked) were not to be opened until many years after his death. When they opened the doors, they were shocked to find all these iconic dresses which featured in many of the most famous portraits of the painter. 

Frida’s Dresses

Her Tehuana dresses have become the iconic image of the painter. And even I wished I could have taken a few copies of them for myself! Tehuana dresses come from the Tehuantepec Isthmus located in the southeastern part of Mexico in the region of Oaxaca. Oaxaca is known the world over as being the heart of the textile industry in Mexico. The woman of the area are seen as the dominant sex, and it is mainly a matriarchal society. As such, their dresses needed to reflect this power.

Frida wanted to be seen as Diego’s artistic equal and adopting these dresses, and their accessories made her feel closer to that powerful matriarch. The clothing also helped to cover up her legs which were affected dramatically by the polio and the right left which had to be eventually amputated. The white petticoats which peek out from underneath the dresses were not only beautiful but practical as they could be detached from the rest of the gown to be washed. Since these long dresses would drag on the ground, the ability to only wash this portion of the dress was very inventive.

The Corsets

The corsets are one of the rawest and most eye-opening portions of the exhibition. They show us just how much pain this beautiful artist must have been suffering through every day, even though she forced a smile. But Frida did not only hurt physically, she also suffered emotionally. Frida’s once said of her husband’s infidelity,

“I suffered two grave accidents in my life. One in which a streetcar knocked me down. The other accident is Diego.“

She used her clothing as a defence against feeling weak and small. Instead, these clothes were loud and powerful. And wearing them made her feel this way even if underneath she did not.

Frida not only had some of the most gorgeous dresses but she also adorned her body in lush jewellery, highly embroidered footwear, and expensive perfume. When she was recovering from her multiple surgeries her wounds would fester and to cover up the smell she relied on flower headpieces and perfume to mask the smell. Even in bed, she would always be seen wearing dozens of pieces of jewellery.

Sitting Room / Gallery

Entering into the house, you first pass through what was once the old sitting room, or living room as we call it today. Here Frida and Diego would entertain their famous guests such as Nelson Rockefeller, George Gershwin, caricaturist Miguel Covarrubias, and actresses Dolores del Río and María Félix. Today, this area is used as an introduction to Frida’s life through her work. Some people have been disappointed not to see more of her artwork in the house, but you just need to set your expectations. I came in not expecting to see any at all, so I was pleasantly surprised to be able to get up close to these pieces.

Portrait of My Father, 1951 

One of the paintings Frida made in 1952, just two years before her death, was a gorgeous dedication to her father. Her father also had his fair share of suffering throughout his life. He was an epileptic who had to leave behind his family fortune in his home country to escape the Nazis as he was a Hungarian-born Jew. 

Frida and the Cesarean, Unfinished 1931

This painting depicts Frida in the hospital in Detroit after her second miscarriage. In this vision, Frida is attempting to deal with the trauma of her second failed pregnancy. This is a dream which portrays what would have happened if she had been able to carry the baby to full term and deliver it by cesarean. The child lays beside her on the bed, the image of Diego looking down on her. She was never able to finish this painting. It was nothing but a lie and she prided herself on painting what she perceived as reality. Days later, she would go on to paint “Henry Ford Hospital” which depicted the real horror of the miscarriage as it truly was.

Still Life, 1942 

Frida was a woman who embraced her sexuality, and as such her paintings are full of sexual references and illusions. This still life was painted for the Mexican presidential residence but was returned to the artist most likely due to it being a little too vulgar for the upper class. The open papaya resembles the shape of a womb. To the left, we see coral fungus resembling the ovaries, and to the right, we have an open cherimoya fruit which resembles female genitalia. While some onlookers will see nothing but a bowl of fruit, Frida was tempting her audience to open their minds and their six senses.

My Family, Unfinished 1949

This painting feels like the most appropriate piece for the setting inside their family home. It’s a family tree with her grandparents at the very top. Underneath them are Frida’s parents and herself and her siblings on the bottom. A fetus is seen in the centre of the four children. This is her brother who died only a few days after his birth. But to Frida, he is still very much a part of their family even after all these years. Three figures are unfinished to the right of the frame. These are thought to be the children of her youngest sister Cristina with whom Frida had a tumultuous relationship with after Cristina’s affair with Diego. Perhaps the fraught relationship was the cause of Frida’s inability to complete their images on the family tree. Frida being too jealous of her sister’s ability to bear children when she could not.

Viva la Vida, 1954

This was the last painting which Frida would complete before she died. It is a still life of watermelon’s, which are a popular image in Mexican art. Watermelons are seen around Dia de los Muertos (Day of the Dead) when the fruits are eaten by the dead who return to the land of the living. Although the melons are bright and colourful, there is a thread of ominousness in their use as it feels Frida is predicting her own demise. Eights days before she died she wrote these words upon the watermelons “VIVA LA VIDA – Coyoacán 1954 Mexico” (Long Live Life!). In her diary a few days before she died she would write,

“I hope that the exit is joyful, and I hope never to return”

Retablos

One of my favourite parts of the exhibition of her artworks were her retablos. These tiny votive images were created when Frida was living in Detroit. While Diego worked on his large Detroit Industry Murals, Frida occupied herself with these creations. During the time huge, political murals were all the rage, and yet Frida was creating small, religious images. Each one of these were painted onto small metal sheets. When the society as a whole was all about grandeur, Frida was creating miniature worlds you had to get close up to really understand. In a way, you needed to become more intimate with them, unlike the murals which you could understand from afar.

Judas Figures

Inside the next room are two towering figures in papier-mâché. These are mujeres bonitos or Judas figures from Tlatilco, Mexico. These “Judas” figures would usually be made of papier-mâché and filled with firecrackers that would explode on the Saturday before Easter. This tradition was thought to cleanse ones sins by burning effigies of that which represented evil. For Frida, she collected these effigies unburnt, perhaps as a symbol of sin unburdened.

Frida’s Diary

In the last room are letters, newspaper clippings and selections of Frida’s diary, all found in the house when it was turned over to the city. Reading these lines from her journal is like sitting down with the woman herself. So often we lean on interpretations to understand what an artist was thinking or feeling, but here we have the words right from her own mouth. Her life was so fraught with sadness, and yet there is a hypnotic magic to her scribblings. Even if you can’t read Spanish, looking at the furious way in which she wrote is a way of understanding her emotional state at the time. Critiques wrote of her diary,

“The diary is the most important work Kahlo ever did…it contains energy, poetry, magic. They reveal a more universal Frida…In Kahlo’s paintings, you see only the mask. In the diary, you see her unmasked. She pulls you into her world. And it’s a mad universe.”

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Dining Room

From the large sitting room, you step into the part of the house which has been preserved with all the old furnishings and decor that Frida had collected. The first room you enter is the dining room. The floors are painted bright yellow, almost neon! Most of the tables and chairs are painted the same colour to match, making them looks as if they grew out of the floor. Despite yellow often being associated with joy and cheer, Frida had a much different interpretation. She wrote in her diary, “yellow is associated with madness, sickness and, fear. It is part of the sun and of happiness.” To see this yellow spread all over her house feels like she was attempting to invite others to share in her madness.

On the walls of the room are various, bright yellow shelves displaying Frida’s precious collections. In the 20th century, Mexican folk art was very under-appreciated in fine art collections. But Frida and Diego always saw its value and cherished collecting these items to preserve, even if just for themselves, elements of their Mexican heritage.

Guests in the Casa Azul

Around this dining table the couple entertained guests such as André Breton (French writer, poet and anti-fascist), Tina Modotti (Italian photographer, model, actress, and revolutionary political activist), Edward Weston (American photographer), Leon Trotsky (Russian revolutionary, Marxist theorist, and Soviet politician), Juan O’Gorman (Mexican painter and architect), Nickolas Muray (Hungarian-born American photographer and Frida’s lover), and many others.

On the shelves, in the dining room, we find two ceramic clocks. The hands of the clock do not move but are fixed on two different moments in time. The one on the left bears the date on which Frida decided to divorce Diego after discovering he was having an affair with her sister Christina. The other has the time when Frida and Diego decided to get remarried. By having this out in the open it proves how honest they both were about the problems inside their marriage. Their issues weren’t a secret and yet, in the end, their love for each other, especially inside these walls, feels eternal.

Diego’s Bedroom

On the other side of the dining room, is Diego’s bedroom. This small guest room was also used by Leon Trotsky when he stayed in Mexico City after fleeing the Soviet Union. After he and Frida had an affair, he was quickly removed from the house by Diego. On the walls of the room, hang Diego’s painting overalls along with his iconic hats he was always seen wearing.

On the antique chair near the window is a small embroidered pillow with the words “Despierta Corazon Dormido” (Wake Up, Sleeping Heart) sewn in with rainbow thread. Words I’m sure Frida would whisper to her husband every morning upon waking him up for breakfast. Sitting on the dresser along the wall are various ancient Aztec sculptures along with Diego’s death mask. Around the room are multiple paintings, most of a highly sexualized nature, to reflect Diego’s passionate character.

The Kitchen

The kitchen is one of the most elaborately decorated rooms in the house. The kitchen floor is painted the same bright yellow with Azul and yellow tiles trimming the walls. Along the walls are hung a variety of utensils, and tableware Frida used when she cooked. Frida learned how to cook from, of all people, Diego’s ex-wife. Lupe (his ex-wife) knew all of Diego’s favourite recipes and how important food was to him. Despite Lupe’s relationship not working out, she found deep affection for Frida and wanted the best for their marriage. Along the wall are dozens of miniature clay mugs which spell out “Frida + Diego” over the old stovetop. The old stove was never modernized from its original design and Frida still cooked using the woodfire while she lived there.

On either side of the window are these same clay pots used to form the shape of two doves, tying a lover’s knot. It seems everywhere you look here there are symbols of love. They often say, a way to a man’s heart is through his stomach. Often we see the kitchen as a more utilitarian space but Frida made it a room which bursts with romance and love.

On her kitchen table are several vegetable-shaped clay tureens and terra cotta painted plates and pots. Nothing Frida used in her kitchen was mass-produced or “out of the box”. Everything was handmade and embellished with images of animals or traditional Mexican designs.

Stairwell

Moving from the first floor into the newly built second storey you pass through a small stairwell with sitting areas at the bottom. This tiny courtyard-like space is bursting with folk art objects, large paintings which crawl up the walls, taxidermied animals and some charming hand-painted pieces of furniture.

Frida’s Studio

Frida’s studio was built here because of her ever-worsening illnesses and disability. After the surgery to remove her leg, she found leaving her house to be very difficult. As such, Diego built this extension for her so that she could continue to work. The steel-framed windows are wrapped around the rooms to allow for light to pour in from the outside freely. From here, Frida could also look down into the garden, almost as if she was standing right in the middle of it. The blue of the walls on the exterior are so bright they reflects right into these rooms.

Painting Studio

Along the window is where Frida would work. She had a writing desk and an area for her easel where she would paint in her wheelchairs towards the end of her life. Today, her paints, brushes and pigments are all still laid out, as if awaiting her return. A mirror sits beside her workspaces, as she would frequently need it to paint the self-portraits she was famous for. She once said,

“I paint self-portraits because I am the person I know best. I paint my own reality. The only thing I know is that I paint because I need to and I paint whatever passes through my head without any consideration.”

Sitting on the easel in front of her wheelchair is a painting she never finished, entitled “Still Life With Flag“. Towards the end of her life, she didn’t have the same control over the brush as she once used did. Her refined techniques were not quite there but her craving to paint was unabated. The easel was actually a gift to Frida from Nelson Rockefeller who came to visit them in Mexico City before asking Diego to paint a mural for him in New York.

Book Collection

Along the walls of her studio are her collection of books. As a bibliophile, I spent way too long peering against the glass, trying to make out every single book cover and title. Kahlo, as expected, was obsessed with collecting antique books about Mexican culture and old atlas detailing the topography of the country. Inside the cabinets are also several precious items and souvenirs. When she was unable to walk, her friends would all come to visit her in bed. She would always ask them to bring something with them to remind her of the outside world. It helped with her connection to the world despite being so removed from it.

Cabinets of Curiosity

Hidden away in a cabinet are boxes and boxes of all the medications she had to take to deal with the pain she suffered from. In the cabinet are also dozens of bandages and other medical equipment. Here in her own house, it seemed like she had a mobile hospital of sorts. It’s truly incredible that in all this pain she could make so many beautiful things. I know when I’m ill I find it impossible to do almost anything. Truthfully, Frida has always been an inspiration to me during some of my more serious illnesses.

Thinking of all she managed to accomplish while suffering like she did would give me the strength I needed. On her walls of the studio is also a sizeable anatomical print of the “intra-uterine life of a fetus”. After Frida’s multiple miscarriages, she became obsessed with these images. Perhaps it was a way of processing what had happened to her. Like she was desperate to find meaning for her loss and that she wasn’t simply damned.

On the floor of this space, you’ll see several large colour trunks. These were what Frida’s clothing had been stashed away inside in those locked bathrooms.

Day Bedroom

Frida actually had two different bedrooms built for her in this space. A daytime bed and a night time bed. As the names suggest, one was made for sleeping, the other, for her to lie in while she convalesced. Frida’s bedroom was left much as it was the day she died. Her tiny, four-poster bed was installed with a mirror on top so she could still paint her own self-portraits without needing even to lift her head. You can see this mirror for yourself and picture her lying there, looking up at herself, wishing to be anywhere be there. On the walls at the foot of the bed, are a series of portraits of Lenin, Stalin, and Mao Tsetung. In the corner of the room are a pair of her old crutches.

As this was the bedroom where she would do her painting, there is still a side table with various paints and brushes at hands for her if inspiration would strike. On the wall, there is a small bookshelf with some of the books she was reading before she died. Above them a grouping of photos, one of which is a picture of herself taken by her lover photographer Nickolas Muray. Above her bed is a painting of what we can only assume is a dead child with a garland of purple poppies around the frame. Photo of children who past away were popular in the Victorian era, as a means of memorializing them. We can only assume who this child was to Frida. Perhaps it was a protector or the image of what she imagined one of her children to be if she had grown up even a little.

Death Mask

Sitting on her little daybed, wrapped in one of her favourite shawls, is Frida’s death mask. They change the shawls out throughout the year depending on the season, just as Frida herself would have changed her outfits up based on the time of year.

Night Bedroom

Her night bedroom feels a little more whimsical and, appropriately, dreamlike. Above the bed, looking down at her, instead of her own visage was a frame full of butterfly specimens given to her by Japanese-American sculptor Isamu Noguchi. When asked about her disabilities Frida would often respond, “Feet, what do I need them for? If I have wings to fly.” Up with the butterflies were also a series of hanging dolls. Perhaps Frida saw herself in these dolls, flying above the world with the butterflies.

On her bed is a pillow, embroidered like the one in Diego’s room, with the words “Do not forget me, my love.”

Across from her bed, on a laced-topped table, is a headless pre-Columbian urn which contains her ashes. The urn is in the shape of a toad, which was her nickname for Diego. Even in death, she is literally inside of him.

In her night bedroom is a large green cabinet containing an extensive collection of her childhood toys. Green to Frida represented “good, warm light” and perhaps her childhood (before her polio) was one of the most cherished times of her life. Against the wall is a tiny bench with Frida’s name and the year 1910 written upon it. It is one of the only pieces of furniture from the previous household which remains.

In the corner of the room is a green and white coat rack, with little flowers dotting the surround. Upon it is one of Frida’s extra headscarves. You can imagine Frida standing here in the natural light of the morning, putting on layer up layer of clothing, jewellery and perfume, her mask to face the day.

Stairs down to the Garden

The stairs which lead back down to the garden are located opposite her daybed. The large doorway to the garden allowed for so much natural light to flood into Frida’s room so she could better see what she was painting. The stairs lead down to the reflecting pool where I imagine Frida would have come to sit and contemplate, the sound of nothing but the birds and the wind in the trees surrounding her. The truest peace she could find.

Visiting the Casa Azul, I genuinely think is as important as anything else you’ll do in Mexico City. Even if you don’t know of Frida or even perhaps aren’t interested in her artwork, this museum is so much more than a gallery. It’s a glimpse into the life of a woman who changed the future of females artists forever. She took it upon herself to preserve and share her love of Mexican indigenous cultures. And today, the image of Frida, in her traditional colourful dress and floral headpiece, is as iconic as the Mona Lisa.

Me and my Diego

The post The Ultimate Self-Guided Tour of Frida Kahlo’s Casa Azul Museum first appeared on The Creative Adventurer.

Table Of Contents

1. Access & Admission
   • Accessibility
2. History
3. Entering the Gallery
4. The Sistine Madonna
   • The Cherubs
5. The Sleeping Venus
6. The Portrait of a Boy
7. The Tribute Money
8. The Sacrifice of Isaac
9. The Archangel Michael Vanquishing the Devil
10. The Dresden Triptych
    • St. Catherine
    • St. Michael
11. The Drunken Hercules
12. Memento Mori
13. Girl Reading a Letter at an Open Window
14. The Procuress
15. Lucas Cranach, the Elder
    • Museum Cafe

Access & Admission

The Dresden Old Master’s Gallery is located in the heart of Dresden, Germany. It is situated in the historic center of the city, in the same building as the Royal Palace, which is now home to the state art collections of Saxony. The museum is easily accessible by public transportation, with several tram and bus lines stopping directly in front of the building. Visitors can also reach the museum on foot from the main train station, which is only a few minutes’ walk away.

The Museum is open daily from 10 a.m. to 6 p.m. and is closed on Mondays. Tickets cost €14 for adults, €10.50 for students and seniors, and anyone under 17 is free. Buy tickets online in advance to ensure access to the museum on busy days.

Accessibility

The Dresden Old Master’s Gallery has barrier-free access. There is
step-free access via Theaterplatz and via the Zwingerhof. There is an elevator next to the museum entrance. Ask staff for any additional assistance.

History

In 1560, the Art Chambers of Saxony declared that paintings and sculptures were “lesser pieces of historical importance” and chose to favour revolutionary technology and scientific advancements. But when Augustus II the Strong came into power, the future looked bright for Germany’s art collections. Augustus II (and his son, the aptly named Augustus III, who would eventually succeed him) had a deep appreciation for art.

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Their family began collecting significant pieces of European art from different periods. During their reigns, the German collection more than doubled in size. With this influx of new pieces, the royal collection had to have a beautiful place to be housed. Architect Gottfried Semper, who also designed the Semper Opera House, was asked in 1838 to build a gallery to store all these famous works of art. In 1855, the new Royal Museum opened to the public.

During WWII, the museum was closed, and all the essential pieces were sent away for safekeeping in mansions around Germany. Unfortunately, some works were still lost after the invasion of the Red Army despite being saved from the bombing. It wasn’t until the late 60s that some of the lost paintings were rightfully returned to the people of Dresden. To this day, there are still more than 450 pieces missing.

Entering the Gallery

Entering the gallery, you pass through a set of enormous wood-carved doors. They are three times the size of a regular door and are incredibly heavy. The giant iron knobs creak as you push them open. It feels like entering an old mansion rather than a modern museum. After paying for your ticket, you can leave any cumbersome bags or coats downstairs in the locker room. You can then head up the ornate staircases to the galleries. The staircase is a reconstruction covered in beautiful grisaille (“a method of painting in grey monochrome, typically to imitate sculpture”), making the walls appear to come alive despite being simple plaster.

The first thing you notice when you walk into the first gallery is the colour of the walls. This vibrant red is used to support the entire collection. As you move from room to room on the first floor, full of Italian artwork, you will only see the walls painted in this same colour of red. As you move to the Dutch and Flemish painters, the walls change to green. Finally, the Spanish and French artists are all displayed on a blue-grey-coloured wall. There are so many memorable pieces in the gallery, but I wanted to share some of the ones that struck a chord with me and whose powerful imagery still lingers in my mind.

The Sistine Madonna

The Sistine Madonna, also called the Madonna di San Sisto, was painted by the Italian artist Raphael Sanzio in 1512. It stands at the back of one of the larger galleries. The lighting in this room is slightly dimmer than the rest of the exhibits, and Madonna’s robe’s bright red and blue seem to glow in the distance.

The piece was designed to fit above the altar in the church of San Sisto, Piacenza. Giorgio Vasari called it “a truly rare and extraordinary work,” and, looking up at it in person, you know what he means. This piece was the crowning glory for Augustus the Strong, who bought the work for over 100,000 francs. He even had the painting hung in his throne room when it was first brought to court and claimed that it would put visitors into a state of religious ecstasy when they looked upon it.

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The Cherubs

But what is most curious about this painting is not the four figures prominently featured in the foreground but the two little cherubs floating at their feet. These cherubs have become iconic in their own right. I’d seen these angels all over the place when I was younger and never knew they were a part of a larger painting. According to legend, when Raphael was painting the Madonna, the children of his model would come in to watch him work. He was so taken by the children and the way they would stare up at their mother he just had to incorporate them into the painting — staring up for eternity, awestruck at the mother of God.

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The Sleeping Venus

The Sleeping Venus, also known as the “Dresden Venus,” is a painting by the Italian Renaissance master Giorgione. This piece is one of the most erotic pictures in his oeuvre. When you look at it in person, it’s vexing. Her skin feels like you could reach out and touch it. She seems vulnerable, lying there without her clothes, drawing all eyes toward her naked flesh. Giorgione died before he could finish the work. It was eventually completed by the infamous painter Titian, who would have a successful career producing works of beguiling women.

Although she is nude, this isn’t what makes the work so sensuous. The woman is lying with her arm raised and her hand resting on her groin. If you look closely, the painter has made great pains to paint the landscape in a way that mimics the shape and curves of the woman’s body. It makes the viewer feels as though this dominant woman is shaping the world with the power of her body.

The Portrait of a Boy

This Portrait of a Boy by Bernardino Pinturicchio is an excellent example of Renaissance art and a great representation of childhood. The boy in the painting seems to be alive, his eyes looking right at ours as if he had been looking away, then was startled and turned to face us. He seems sad, almost annoyed, portraying the epitome of youthful grumpiness.

The Tribute Money

Titian‘s The Tribute Money depicts the Pharisee’s attempt to catch Christ with trick questions. They asked Christ whether it was lawful to pay taxes. But no matter how he answers, he will be trapped. Instead, Christ responds to the man to hand him a coin and says, “give to Caesar what is Caesar’s and to God what is God’s.” The painting is so expertly painted you can almost feel the tense interaction between the two. Christ seems calm, his hands relaxed despite encountering such accusations. The Pharisee’s hands are dark and crumpled up, his face wrinkled and menacing.

The Sacrifice of Isaac

Andrea Del Sarto‘s The Sacrifice of Isaac is a heartbreaking painting that is emotional and full of action. As if you’ve just caught them in the act, God is testing Abraham’s faith by commanding him to sacrifice his only son, Isaac. Abraham is prepared to comply, but God sends an angel to stop him. If you look closely, you can see the painting is not finished, giving scholars a chance to see the different stages the painter took while working on his masterpiece.

In my opinion, the facial features make this painting so compelling. Look at the fearful expression in the boy’s eyes. He is looking right our way, seemingly calling out for help and asking us to step in. Abraham has a tear in his swollen eye, and his mouth hangs open with relief as the angel proclaims that his son shall live.

The Archangel Michael Vanquishing the Devil

The Archangel Michael Vanquishing the Devil, an action-packed scene by Tintoretto, is a brilliant example of the painter’s artistic style. He loved group scenes full of theatrical performances. The entire environment is saturated in divine light. The angels are driving away Satan, portrayed as the seven-headed dragon. One of the angels uses a lance to cast him back down to hell. This forms the dynamic axis, giving the painting an intense and active feel.

The Dresden Triptych

The Dresden Triptych is a tiny hinged altarpiece completed by the early Netherlandish painter Jan van Eyck in 1437. Considering it is such a small piece, the painting may have been used for private prayers in a household or as a portable altarpiece for a wealthy clergyman. The triptych is embedded in a beautiful golden frame with script engraved along the edges.

The structure built around the painting highlighted the art and protected it from damage. The center of the frame depicts the Virgin and Child sitting inside a magnificent cathedral or church. They are sitting upon a large, canopied throne with dozens of ornate columns flanking either side of the chair. The columns are dark, painted red, orange and grey, conveying a “sense of airy silence.” 

Mary is draped in a dark red and richly embroidered gown. This dress is the most eye-catching part of the frame, and you are drawn into her. Contrasted against the dark red is the naked baby, with his hands outstretched, asking the people to come to him and “Learn of me, for I am meek and lowly in heart.”

St. Catherine

St. Catherine and the Archangel Michael are on the Virgin and Child’s other side. Compared to the darker environment the Virgin sits in, the two saints are bathed in holy light from the stained glass windows behind them. Both St. Michael and St. Catherine are dazzling in their appearance. They have worn only their best to come and meet Christ’s child. St. Catherine is dressed as she would have been when she was a princess before her torture and execution for her religious beliefs. She is stunning — her hair worn down, crowned with a tiara.

The blue of her dress, shining in the light, seems to almost sparkle. It’s as if God is thanking her for her sacrifice and making her saintly form the epitome of her earthly beauty. But her trials are not forgotten in this painting. At her feet rests the wheel on which she was tortured. Against the wall rests the sword with which she was beheaded.

St. Michael

St. Michael is dressed in brightly coloured armour emblazoned with jewels. But what is most fascinating about Van Eyke’s representation is his outrageously coloured wings! They seem almost bird-like in their appearance and make him all the more fantastical. He stands upright with his lance and helmet in hand at the service of the Virgin and Child.

Like many devotional paintings, the donor can also be found in this picture, with the hand of St. Michael resting on his shoulder. His hands are in prayer, and he is dressed in a long, green cloak similar to the ones worn in the Burgundian court. His gown is of high quality, trimmed with fur and accented with a red velvet hood. These are all clues as to what kind of man this donor was. The man looks over to the Christ child with such dedication in his eyes, honoured to be in his presence.

The Drunken Hercules

In contrast to the delicate beauty of the Dresden Tryptic, Peter Paul Rubens’ The Drunken Hercules is a rough portrayal of men falling from grace. Hercules, the hero of so many great stories, is portrayed here as succumbing to the vice of drink. The wine has robbed him of his strength, and he requires the help of a satyr and wood nymph to make his way safely through the forest. The painting seems to serve a moral theme to the viewer — drinking too much can have drastic consequences for even the strongest of us. But for me, it also shows that even the powerful must fall. Those close to us will carry us forward until we regain our strength to face a new day.

Memento Mori

One of my favourite Dutch still-lives from the collection is painted by Jan Davidsz. De Heem. This one is called Memento Mori, Latin for “Remember Death.” Still, lives were incredibly popular in the 1650s, and many portrayed bouquets of flowers, food, drinks, and objects placed in a balanced composition against a dark background. But when we look closer and study the symbology of every little grain of sand, rose petal or sea shell, we learn there is much more under the superficial surface of these paintings. The flowers in full bloom, their leaves are eaten by insects and on the verge of death, remind us that time isn’t to be wasted on vanity and empty splendour. Rather it’s about living and striving for virtue in all our actions. The stalks of grain on the table represent Christ and signify the resurrection. 

Girl Reading a Letter at an Open Window

Johannes Vermeer is one of history’s most celebrated painters. He is known for his intricate attention to detail and his use of realistic light and shadows. Girl Reading a Letter at an Open Window is a perfect example. It was painted between 1657-1659 and depicts an everyday-looking Dutch woman. She is standing by an open window, gently holding a letter. But this painting is more than just a lovely woman. It’s a tale of betrayal and forbidden love. The open window represents the woman’s desire to escape her domestic life. The half-eaten fruit symbolizes her affair.

The letter she holds in her hands is from her lover, either planning to continue their illicit affair or perhaps to call things off once and for all. We know love is a prominent theme of this piece since x-rays have revealed that Vermeer once painted a small Cupid in the corner of the canvas but ultimately covered it up with drapes. Perhaps he wanted the imagery to be subtler, allowing the viewer to draw conclusions.

The Procuress

Jan Vermeer’s The Procuress is a very controversial painting portraying the reality of women’s plight in the 16th century. The man in the front of the picture, perhaps a soldier, is fondling her breast in the sight of all the other men in the room. At the same moment, he drops a coin into her outstretched hand. We can assume this is payment for sex as the scene is thought to be inside a brothel. The Procuress, the old woman in the back of the frame, smiles down on the scene.

The young lady in yellow smiles meekly, but her cheeks are flushed red with fear. The closeness of all the characters in the scene is meant to make the viewer feel claustrophobic. Most of the frame is occupied by the woven oriental rug, painted to the point of photorealism. The lovely design of the rug juxtaposes the involved scenes of patrons and prostitutes. Although it is a heart-wrenching display, it is honest and beautifully painted by this grand master.

Lucas Cranach, the Elder

The Dresden Old Masters Gallery houses over 50 paintings by Lucas Cranach, the Elder, making it the world’s most extensive collection of Cranach paintings. This tryptic is the story of various women martyred for their love of Christ over the years. St. Catherine is portrayed in the centre of the frame. She is the patron saint of scholars. Throughout her life, she converted over 50 pagans to Christianity in Alexandria during the 4th century. The female saints on the right side are St. Dorothea, St. Agnes and St. Cunigunda. On the left, we find St. Bara, St Usala and St. Margaret. 

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Museum Cafe

If you find yourself needing a break, stop into the cafe inside the Museum. Not only does it offer up some delicious treats and local cheeses (my personal recommendation), but it also has a beautiful patio that looks out over the adjoining square. This is the perfect place to rest, recharge, and people-watch!

Whatever you are drawn to within these walls, you’ll surely find something unique. This collection of artistic treasures is indeed a wonder and should not be missed on your next trip to Dresden.

The post Complete Guide to the Best Artworks inside the Dresden Old Masters Gallery first appeared on The Creative Adventurer.