mythology

  • White Garden

    White Garden

    Sir Edward Coley Burne-Jones (English, 1833–1898)

    A pale garden unfolds, where myth lingers among the blossoms. Figures move with quiet purpose, their robes brushing against white flowers. The air hums with unspoken stories, woven into the petals and the soft turn of a wrist. Something ancient stirs beneath the delicate surface.

  • Marvel of the World

    Marvel of the World

    Sir Edward Coley Burne-Jones (English, 1833–1898)

    A golden figure emerges from swirling mist, draped in celestial robes. Myth and mystery intertwine as light dances across intricate patterns, hinting at divine secrets just beyond reach. The scene pulses with quiet power, drawing the viewer into its otherworldly glow.

  • Die drei Grazien (1899)

    Die drei Grazien (1899)

    Édouard Bisson (French, 1856–1945)

    Three women intertwine in effortless harmony, their flowing drapery echoing the curves of their bodies. Myth becomes flesh as they embody grace itself—not posed, but caught mid-movement like a breath held between laughter and song. The air around them shimmers with unspoken stories.

  • Thisbe

    Thisbe

    John William Waterhouse (British, 1849-1917)

    A bloodstained veil clings to the mulberry tree—Thisbe’s last trace. The fabric flutters, whispering of love severed by cruel fate. Beneath the branches, shadows deepen, swallowing the promise of two voices that once met in secret. The berries blush dark, forever marked by tragedy.

  • Poet And Satyrs (C. 1890-1895)

    Poet And Satyrs (C. 1890-1895)

    Gustave Moreau (French, 1826–1898)

    A poet sits among satyrs, their wild eyes gleaming. The air hums with unspoken verses and untamed laughter. Myth bleeds into reality where ink meets vine, and the boundaries between sacred and profane dissolve. Something ancient stirs in their shared silence—a pact, a temptation, a song waiting to be sung.

  • Frühling (1900)

    Frühling (1900)

    Franz von Stuck (German, 1863–1928)

    A nude woman emerges from shadowed foliage, her pale skin glowing against the dark leaves. A snake coils around her wrist like a living bracelet—both threat and adornment. Spring arrives not with blossoms, but with this unsettling union of flesh and serpent, beauty and danger intertwined.

  • The King of Thule (1896)

    The King of Thule (1896)

    Pierre Jean Van der Ouderaa (Belgian, unknown)

    A weary king clutches his golden goblet, shadows stretching long across his crumbling throne. The last ruler of a fading myth, his hollow gaze lingers on distant shores where legends drown in twilight. The cup trembles—one final sip before the sea claims everything.

  • Venus Looking Glass

    Venus Looking Glass

    Sir Edward Coley Burne-Jones (English, 1833–1898)

    A woman gazes into a glass, her reflection shimmering with divine light. The mirror holds not just her face, but something deeper—an otherworldly glow hinting at secrets beyond mortal sight. Myth and mystery blur in its surface, leaving the viewer to wonder what truth lies within that luminous frame.

  • Water Nymph (1907)

    Water Nymph (1907)

    Paul Swan (American, 1883–1972)

    A mesmerizing depiction of a mythical figure emerging from water, blending realism with dreamlike fluidity.