Prophecy & vision

Featured Artworks

Irises

Vincent van Gogh (1889)

Painted in May 1889 at the Saint-Rémy asylum garden, Vincent van Gogh’s Irises turns close observation into an act of repair. Dark contours, a cropped, print-like vantage, and vibrating complements—violet/blue blossoms against yellow-green ground—stage a living frieze whose lone white iris punctuates the field with arresting clarity [1][2].

The Creation of Adam

Michelangelo (c.1511–1512)

Michelangelo’s The Creation of Adam crystallizes the instant before life is conferred, staging a charged interval between two nearly touching hands. The fresco turns Genesis into a study of imago Dei, bodily perfection, and the threshold between inert earth and active spirit [1][2].

Guernica

Pablo Picasso (1937)

Guernica is a monumental, monochrome indictment of modern war, compressing a town’s annihilation into a frantic tangle of bodies, beasts, and light. Across the canvas, a shrieking horse, a stoic bull, a weeping mother with her dead child, and a fallen soldier stage a civic tragedy rather than a heroic battle. The harsh electric bulb clashes with a fragile oil lamp, turning the scene into a stark drama of terror and witness.

The School of Athens

Raphael (1509–1511)

Raphael’s The School of Athens orchestrates a grand debate on knowledge inside a perfectly ordered, classical hall whose one-point perspective converges on the central pair, Plato and Aristotle. Their opposed gestures—one toward the heavens, one level to the earth—establish the fresco’s governing dialectic between ideal forms and empirical reason [1][2]. Around them, mathematicians, scientists, and poets cluster under statues of Apollo and Athena/Minerva, turning the room into a temple of Renaissance humanism [1][3].

The Garden of Earthly Delights

Hieronymus Bosch (c.1490–1500)

The Garden of Earthly Delights unfolds a three‑act moral narrative—innocence, seduction, and retribution—from Eden to a punitive Musical Hell. Bosch binds the scenes through recurring emblems (notably the owl) and by echoing Eden’s crystalline fountain in the center’s fragile, candy‑colored architectures, then in Hell’s broken bodies and instruments. The work dazzles with invention while insisting that sweet, ephemeral pleasures end in ruin [1].