Ernesto 'Che' Guevara’s, transformational  motorcycle journey through Latin America at a very impressionable age, led him to join forces with Fidel and Raul Castro to become the face of the Cuban Revolution.

His participation was marked by his exceptional courage and organizational prowess. As a commander, he played a crucial role in overthrowing the dictator Fulgencio Batista, culminating in the seizure of the capital in 1959.

In the newly established regime, Che was influential in numerous areas, including overseeing execution squads, military training, managing the sugarcane-dominated agricultural economy, and aligning Cuba with the Soviet Union. His bold invitation to the Soviets to station missiles in Cuba escalated into the infamous Missile Crisis, narrowly avoiding a nuclear confrontation with the United States.

Eventually disenchanted with Soviet politics and Castro's leadership, Guevara embarked on further revolutionary endeavors, leading him to the Congo and ultimately Bolivia. It was in Bolivia, at the age of thirty-nine, that Guevara's journey ended when he was captured and executed by a CIA-backed militia.

Before leaving for Congo, he wrote to Castro a letter which has become famous for what it stands for.

You see a lone woman on her bed. She has just woken up, her hair tied up in a tight bun, dishevelled and devoid of any makeup, with her hands propped on her knees, tucked in. Her posture is relaxed and calm, yet distant, reaffirming her sense of solitude. It draws you in, because there is this deep ambivalence as she gazes impassively through the open window, her body bathed in the beautiful, warm, coaxing sunlight of dawn, yet betraying the joy it should usher in. Her unblinking stare emphasising her internal world, over her actual presence in the painting.

The play of light is the central motif in this composition. Streaming through an open window, it lights up her presence while casting a geometric pattern (a parallelogram) on the wall behind. It's as if the light from the window, has unlocked the window of her soul for viewers to peek in. The vast emptiness of the pattern discloses her emotions, and as such it’s born through allegory and brought to life through exquisite brushwork and composition.

A powerful visual metaphor, marrying identity, isolation, independence and privacy with that unknown called destiny.

The Rohonc Codex  or the “Hungarian Voynich” is  an illustrated manuscript which was found in the early 19th century in Hungary. As of date it is of unknown authorship and written in a dialect that is undeciphered. 

The codex contains 448 paper pages, nine to fourteen rows of symbols, and 87 images. The text is composed of an unknown script with no known parallel, featuring a large number of distinct symbols. The illustrations in the codex are quite diverse, depicting various religious, militaristic, and everyday life scenes.

Despite extensive efforts, the script of the Rohonc Codex remains undeciphered. Its mysterious origins, unique script, and debates surrounding its authenticity make it a captivating subject for historians , enthusiasts and linguists. While recent discoveries have yet to provide definitive answers, the Codex remains an interesting mystery, holding the potential to reveal new aspects of historical linguistics and mediaeval history.

If you are interested in cracking a centuries old undeciphered cipher, you can download one of the copies of the entire codex here.

Eugène Delacroix's "Liberty Leading the People" encapsulates the revolutionary zeal of urban civil war, capturing a pivotal moment of French history.  It  captures the raw spirit of revolution where anyone and everyone can become a revolutionary when the tide turns too far. 

Even those who have not borne a single arm in their lives. 

his  masterpiece embodies an iconic representation of the French revolution but garnished with the raw effervescence of French Romanticism, As Delacroix himself wrote, "I have painted for her," and indeed, he has painted for us all.

“Girl with a Pearl Earring” went on to define Vermeer’s legacy. So much so, that it came to be known as “The Mona Lisa of the North” — a direct reference to Leonardo’s Mona Lisa in terms of global appeal, enigma and fame.

Vermeer painted this masterpiece between 1665 and 1668 when he was approximately 30 years old. Like most paintings of that age, the exact date of creation is a matter of intense scholarly debate.

Some believe the model could have been Mary Beghtol, daughter of painter Pieter de Hooch. Others believe the figure represents Maria Thinshull, wife of merchant Henry Thinshull. Still others speculate that the model could have been Anna van Schothorst, sister of Jan Steen, another stalwart of the Dutch Renaissance.

The most incredible claim though, is that the woman in the painting is Vermeer’s daughter. There has been speculation in certain circles that the woman bears a resemblance to other female figures in Vermeer’s works, suggesting that the same model — possibly his daughter — was used in many of them. 

However, there is no iron clad proof and as such the identity of the model remains a mystery even today.

In the world of art, Pieter Bruegel the Elder, stands as the doyen of the Northern Renaissance. And when we talk about the Northern Renaissance, few paintings evoke as much interest and nostalgia as Bruegel’s Hunters in the Snow." This masterpiece of the Northern Renaissance stands as a timeless testament to the power of art to capture the essence of a season, to tell a story, and to resonate with viewers across centuries. 

While "Hunters in the Snow" may appear to be a straightforward depiction of daily life in a wintry landscape, at its core, the painting revolves around themes of human vulnerability, the cycles of nature, and the resilience of communities in harsh conditions. The painting highlights humanity's insignificance in the face of nature's forces, symbolised by weary hunters returning with meager results. It explores the cyclical nature of life and death, contrasting the wintry landscape's harshness with the enduring spirit of life in the activities of villagers. Additionally, it underscores the importance of community support and cooperation, contrasting individual struggles with collective resilience. The presence of religious symbolism adds a spiritual dimension, inviting viewers to contemplate deeper meanings of existence and our communal efforts towards building collective strength and enduring societal spirit.

A Resurrected Jesus without a beard, fruits of autumn for an event that should have occured in April, the sign of Ichthys and the presence of a scallop shell on the robe of a disciple.

Caravaggiio's " Supper at Emmaus" is filled with Christian symbolism and a painting of extreme interest for symbolists.

But what were these and what did they mean?

The painting derives its name from the biblical event recounted in the Gospel of Luke (Luke 24:13-35). 

According to this narrative, following Jesus' Crucifixion and subsequent burial, two of his disciples encountered a stranger on the road to Emmaus. Unaware that this stranger was Jesus, they invited him for a meal. Jesus blessed and broke bread during this shared repast, unveiling his true identity before vanishing.

This moment marks Jesus' first post-resurrection appearance in the real world.

It’s extremely hard to create cover versions of iconic originals, but Tintoretto delivers in spades and then some. To the point that it’s no longer a cover. It’s an original in its own right. From influence, to perspective to technique and mannerism, Tintoretto’s “Last Supper” is markedly different from Da Vinci’s masterpiece while telling the same story.

While both paintings depict the biblical event of the Last Supper, they differ significantly in terms of composition, atmosphere, and artistic approach.

While Da Vinci employs sfumato (a technique of subtle blending and softening of colors) to create a sense of depth and realism. Tintoretto, on the other hand, uses chiaroscuro, bold brushwork, visible texture, and strong contrasts of light and shadow to create a dynamism and energy.

Da Vinci's Last Supper is celebrated for its technical mastery, harmonious composition, and nuanced portrayal of the figures while Tintoretto's Last Supper, on the other hand, is renowned for its Mannerist style, dramatic composition, and emotional intensity. 

Both paintings have made significant contributions to the artistic legacy of The Last Supper,