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Bowl with Cheetah, Byzantine, 11th–13th century. A shallow ceramic bowl featuring an engraved depiction of a cheetah on its interior. Typical of Byzantine slipware, the red clay body is covered with slip that is then cut away and incised to create the animal image.

What a Clay Bowl with a Cheetah Tells Us About the Byzantine World

July 15, 2026
by Amalia Spiliakou Byzantine ArtMedieval ArtTeaching Resources

A humble Byzantine clay bowl decorated with a cheetah reveals a world of imperial prestige, artistic skill, trade, and cultural exchange across the medieval Mediterranean.

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Clay model of swinging female figure, Neopalatial period 1700-1450 BC, Heraklion Archaeological Museum, Crete.

The Minoan Swing

July 7, 2026
by Amalia Spiliakou Ancient Greek ArtArchaeologyMycenaean ArtPrehistoric ArtTeaching Resources

The Swing’ is a charming and unusual artifact from Minoan Crete. It’s a clay model depicting a female figure seated on a swing, suspended between two upright posts.

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Meissen Workshop, Personifications of the Four Seasons, c. 1755, hard-paste porcelain with polychrome enamel decoration, Musei Capitolini, Pinacoteca Capitolina Cini, Rome.

The Four Seasons Allegory in Meissen Porcelain

June 20, 2026
by Amalia Spiliakou 18th century ArtRococo ArtTeaching Resources

Meissen porcelain Four Seasons busts (c. 1755) reveal how 18th-century Europe visualized time through allegory, craftsmanship, and classical tradition.

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Nikos Hadjikyriakos-Ghika, Interior with Woman and Mirror, 1940. A stylised female figure with closed, lowered eyes sits in an interior space beside a mirror, rendered in a cubist-inflected style with flattened limbs and decorative wallpaper patterning.

Nikos Hadjikyriakos-Ghika’s Interior with Woman and Mirror

June 16, 2026
by Amalia Spiliakou 20th century ArtModern Greek ArtTeaching Resources

Luminous, stylish, and charged with youthful energy, Ghika’s Interior with Woman and Mirror is a masterclass in creative dialogue. Here’s how a Greek modernist absorbed the lessons of Picasso, and painted something entirely his own.

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Marble Portrait of Constantine the Great at the Metropolitan Museum of Art

Marble Portrait of Constantine the Great

May 20, 2026
by Amalia Spiliakou ArchaeologyEarly Christian ArtRoman ArtTeaching Resources

A Face Between Two Empires: Constantine in Marble presents the marble portrait of Constantine the Great as a turning point in Roman art, where classical imperial imagery, political messaging, and the rise of Christianity converge in carved stone.

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Renaissance painting of Perseus rescuing Andromeda, who is chained to rocks by the sea, as he confronts a sea monster; dramatic sky and richly dressed figures emphasize movement and tension.

Bonifazio de’ Pitati’s Perseus Freeing Andromeda

May 6, 2026
by Amalia Spiliakou Italian Renaissance ArtMythologyRenaissance ArtTeaching Resources

Displayed on a wedding chest, Bonifazio de’ Pitati’s painting of Perseus freeing Andromeda offers a timeless message: that love, like myth, is a journey from danger to harmony.

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Early Christian Ivory Diptych with two carved scenes: episodes from the life of St. Paul and Adam standing in the Earthly Paradise. Small, stylized figures and minimal backgrounds are rendered in fine low relief on a warm, aged ivory surface.

St. Paul and Adam in the Earthly Paradise

May 4, 2026
by Amalia Spiliakou Byzantine ArtEarly Christian ArtTeaching Resources

This ivory diptych pairs Adam’s primordial harmony with Saint Paul’s miraculous acts, presenting a visual argument of restored balance, where faith overcomes disorder, reflecting theological meaning and late Roman cultural tensions.

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A delicate still life by Johan Laurentz Jensen showing pale hawthorn blossoms on a dark background, highlighting their fine detail and soft light.

Still Life with Hawthorn Blossom

April 30, 2026
by Amalia Spiliakou 19th century ArtTeaching Resources

In the quiet refinement of 19th-century Danish painting, Jensen’s Still Life with Hawthorn Blossom celebrates May’s fleeting beauty — where delicate hawthorn blossoms become symbols of renewal, transience, and enduring meaning.

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Fresco by Fra Beato Angelico (1395–1455) titled “Crucifixion with the Virgin Mary, Martha, and Saints Mark, Dominic, and Longino” (1440–1442). The figures are set against a serene, gold-hued background typical of Angelico’s early Renaissance style, located in Cell 42 of the Convent of San Marco, Florence, Italy.

Fra Angelico’s story of the Passion

April 9, 2026
by Amalia Spiliakou Italian Renaissance ArtRenaissance ArtTeaching Resources

He would never take up his brushes without prayer; and in his Crucifixions, the devotion he felt is seen in the tender, pious expression of every figure.

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Allegorical figure of Greece in classical dress with outstretched arms above a crowd of Greek independence fighters, symbolizing national defense and unity.

The Defense of the Homeland above All Else

March 23, 2026
by Amalia Spiliakou 19th century ArtModern Greek ArtTeaching Resources

Vryzakis’s 1858 painting unites heroes of the Greek Revolution in an allegorical tribute, where personified Greece honors their collective sacrifice, transforming history into memory, identity, and national gratitude.

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Recent Posts

  • What a Clay Bowl with a Cheetah Tells Us About the Byzantine World
  • Henri Rousseau’s painting of Bastille Day
  • The Minoan Swing
  • Childe Hassam’s Acorn Street
  • James Holland’s Delphinium Watercolour

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