Top 100 - The 100 Most Famous History Paintings
The 100 most famous history paintings
From Giotto to Nevinson: a hundred scenes where the Bible, myth, revolution, war and society become painted memory
This ranking brings together one hundred history paintings by 62 artists from European and American traditions.
One hundred scenes to tell the story of six centuries
When painting takes care of history
In the Western academic hierarchy, history painting occupied the first rank because it had to bring together composition, anatomy, expression, architecture, costume and knowledge of texts. Its subject could come from the Bible, Antiquity, mythology, literature or a historical event.
History painting does not copy the past: it chooses a moment, distributes roles and constructs the memory that the viewer will carry away.Switch to images
Classification in images
Delacroix, Géricault, Goya, David, Velázquez, Rembrandt and Manet open the route with the most instantly recognizable scenes.
#1
Freedom guiding the people
In rank 1, "Liberty Leading the People" by Eugène Delacroix belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#2
The Raft of the Medusa
In rank 2, "The Raft of the Medusa" by Théodore Géricault belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#3
May 3, 1808 in Madrid
In rank 3, "May 3, 1808 in Madrid" by Francisco de Goya belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#4
The Oath of the Horatii
In rank 4, "The Oath of the Horaces" by Jacques-Louis David belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#5
The Death of Marat
In rank 5, "The Death of Marat" by Jacques-Louis David belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#6
The Rite of Napoleon
In rank 6, "The Rite of Napoleon" by Jacques-Louis David belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#7
The Surrender of Breda
In rank 7, "The Surrender of Breda" by Diego Velázquez belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#8
The Night Watch
In rank 8, "The Night Watch" by Rembrandt belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#9
Scenes from the Scio massacres
In rank 9, "Scenes from the Scio massacres" by Eugène Delacroix belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#10
The Death of Sardanapalus
In rank 10, "The Death of Sardanapalus" by Eugène Delacroix belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#11
Execution of Emperor Maximilian of Mexico
In rank 11, "Execution of Emperor Maximilian of Mexico" by Édouard Manet belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#12
Ivan the Terrible kills his son
In rank 12, "Ivan the Terrible kills his son" by Ilya Repin belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#13
The Creation of Adam
In rank 13, "The Creation of Adam" by Michelangelo belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work has was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#14
The Last Supper
In rank 14, "The Last Supper" by Leonardo da Vinci belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#15
The Last Judgment
In rank 15, "The Last Judgment" by Michelangelo belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work has was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#16
The Mystical Lamb
In rank 16, "The Mystical Lamb" by Jan van Eyck belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work has was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#17
School of Athens
In rank 17, "School of Athens" by Raphaël Sanzio belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work has was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#18
The Wedding at Cana
In rank 18, "The Wedding at Cana" by Paul Veronese belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work has was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#19
Judith beheading Holofernes
In rank 19, "Judith Beheading Holofernes" by Artemisia Gentileschi belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#20
The Garden of Delights
In rank 20, "The Garden of Delights" by Hieronymus Bosch belongs to the chapter "the twenty icons of the great painted story". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
View product →Giotto, Fra Angelico, Masaccio, Van Eyck, Leonardo, Raphael and Grünewald give the religious story a new architecture.
#21
The Lamentation over the Dead Christ
In rank 21, Giotto's "The Lamentation over the Dead Christ" belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#22
The Annunciation
In rank 22, "The Annunciation" by Fra Angelico belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#23
The Baptism of Christ
In rank 23, "The Baptism of Christ" by Piero della Francesca belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#24
Payment of tribute
In rank 24, Masaccio's "The Payment of Tribute" belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#25
The Trinity
At rank 25, Masaccio's "The Trinity" belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#26
The Descent from the Cross
In rank 26, "The Descent from the Cross" by Rogier van der Weyden belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#27
The Annunciation
In rank 27, "The Annunciation" by Leonardo da Vinci belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#28
The Sistine Madonna
In rank 28, "The Sistine Madonna" by Raphaël Sanzio belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#29
The Transfiguration
In rank 29, "The Transfiguration" by Raphaël Sanzio belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#30
issenheim altarpiece first opening
In rank 30, "Issenheim altarpiece first opening" by Matthias Grünewald belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve a collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#31
The four apostles: Saints John and Peter
In rank 31, "The four apostles: Saints John and Peter" by Albrecht Dürer belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve a collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#32
The Assumption of the Virgin
In rank 32, Titian's "The Assumption of the Virgin" belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#33
The Entombment
In rank 33, Titian's "The Entombment" belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#34
The Family of Darius before Alexander
In rank 34, "The Family of Darius before Alexander" by Paul Veronese belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate action collective or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#35
Crucifixion
At rank 35, "Crucifixion" by Jacopo Tintoretto belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#36
The Last Supper
In rank 36, "The Last Supper" by Jacopo Tintoretto belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#37
Burial of the Count of Orgaz
In rank 37, "Burial of the Count of Orgaz" by El Greco belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#38
The Vocation of Saint Matthew
In rank 38, "The Vocation of Saint Matthew" by Caravaggio belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#39
The Conversion of Saint Paul
In rank 39, Caravaggio's "The Conversion of Saint Paul" belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#40
Dinner at Emmaus
In rank 40, "The Supper at Emmaus" by Caravaggio belongs to the chapter "the sacred and humanist foundations of history painting". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
View product →Caravaggio, Rubens, Rembrandt, Velazquez, Poussin, Titian and Botticelli organize the drama through gesture, light and the body.
#41
The Death of the Virgin
In rank 41, "The Death of the Virgin" by Caravaggio belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#42
Judith beheading Holofernes
In rank 42, "Judith Beheading Holofernes" by Caravaggio belongs to the chapter "Baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#43
The Elevation of the Cross
In rank 43, "The Elevation of the Cross" by Peter Paul Rubens belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#44
The Descent from the Cross
In rank 44, "The Descent from the Cross" by Peter Paul Rubens belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#45
The Return of the Prodigal Son
In rank 45, "The Return of the Prodigal Son" by Rembrandt van Rijn belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#46
Danae
At rank 46, "Danaé" by Rembrandt van Rijn belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#47
The Triumph of Bacchus
In rank 47, "The Triumph of Bacchus" by Diego Velázquez belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#48
The Rapture of the Sabine Women
In rank 48, "The Rapture of the Sabines" by Nicolas Poussin belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#49
And in Arcadia ego
In rank 49, "Et in Arcadia ego" by Le Guercin belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#50
Aurora
At rank 50, "Aurore" by Guido Reni belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#51
The Birth of Venus
In rank 51, "The Birth of Venus" by Sandro Botticelli belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#52
Spring
At rank 52, "Spring" by Sandro Botticelli belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#53
Bacchus and Ariadne
At rank 53, Titian's "Bacchus and Ariadne" belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#54
The Rapture of the Daughters of Leucippus
In rank 54, "The Rapture of the Daughters of Leucippus" by Peter Paul Rubens belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate action collective or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#55
The Judgment of Paris
In rank 55, "The Judgment of Paris" by Pierre Paul Rubens belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#56
Samson and Delilah
In rank 56, "Samson and Delilah" by Peter Paul Rubens belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#57
Saturn devouring one of his children
At rank 57, "Saturn devouring one of its children" by Goya belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#58
Oedipus and the Sphinx
In rank 58, "Oedipus and the Sphinx" by Gustave Moreau belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#59
Jupiter and Semele
In rank 59, "Jupiter and Semele" by Gustave Moreau belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#60
Cleopatra's Banquet
At rank 60, "The Symposium of Cleopatra" by Giovanni Battista Tiepolo belongs to the chapter "baroque theater, the Bible and classical mythologies". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
View product →David, Gros, Delaroche, Turner, Sourikov, Repin and Courbet confront contemporary events in a grand way.
#61
Bonaparte visiting the plague victims of Jaffa
In rank 61, "Bonaparte visiting the plague victims of Jaffa" by Antoine-Jean Gros belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve a collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#62
Napoleon on the battlefield of Eylau
At rank 62, "Napoleon on the battlefield of Eylau" by Antoine-Jean Gros belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve a collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#63
The Sabines
At rank 63, "Les Sabines" by Jacques-Louis David belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#64
The death of Socrates
In rank 64, "The Death of Socrates" by Jacques-Louis David belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#65
The execution of Lady Jane Grey
At rank 65, "The Execution of Lady Jane Grey" by Paul Delaroche belongs to the chapter "Revolution, Empire, Catastrophe and National Memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#66
The Slave Ship
At rank 66, Turner's "The Slave Ship" belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. MW Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#67
The Last Journey of the Bold
In rank 67, "The Last Journey of the Bold" by JMW Turner belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate action collective or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. MW Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#68
The Morning of the Streltsy Execution
In rank 68, "The Morning of the Execution of the Streltsy" by Vasily Surikov belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate action collective or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#69
The Volga Boats
In rank 69, "The Boats of the Volga" by Ilya Repin belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#70
Religious procession in Kursk province
At rank 70, "Religious procession in the province of Kursk" by Ilya Repin belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve a collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#71
The Quarter State
At rank 71, "The Fourth Estate" by Giuseppe Pellizza da Volpedo belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#72
A funeral in Ornans
In rank 72, "A funeral in Ornans" by Gustave Courbet belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#73
The Painter's Workshop
In rank 73, "The Painter's Workshop" by Gustave Courbet belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#74
The stone breakers
In rank 74, "The Stone Breakers" by Gustave Courbet belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#75
Gleaners
At rank 75, "Des gleaners" by Jean-François Millet belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#76
The Gross Clinic
At rank 76, "The Gross Clinic" by Thomas Eakins belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#77
The Agnew Clinic
At rank 77, "The Agnew Clinic" by Thomas Eakins belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#78
Pollice Verso
In rank 78, "Pollice Verso" by Jean-Léon Gérôme belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#79
The Slave Market
In rank 79, "The Slave Market" by Jean-Léon Gérôme belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#80
Joan of Arc
At rank 80, "Joan of Arc" by Jules Bastien-Lepage belongs to the chapter "revolution, empire, catastrophe and national memory". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
View product →Pre-Raphaelites, symbolists, realists and avant-gardes extend history painting to literary myth, work and modern trauma.
#81
Ophelia
At rank 81, "Ophélie" by John Everett Millais belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#82
The Lady of Shalott
At rank 82, "The Lady of Shalott" by John William Waterhouse belongs to the chapter "Literature, the Social Question and Modern Stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#83
Hylas and the Nymphs
At rank 83, "Hylas and the Nymphs" by John William Waterhouse belongs to the chapter "Literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#84
Proserpina
At rank 84, "Proserpina" by Dante Gabriel Rossetti belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#85
Beata Beatrix
At rank 85, "Beata Beatrix" by Dante Gabriel Rossetti belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#86
Ecce Ancilla Domini
At rank 86, "Ecce Ancilla Domini" by Dante Gabriel Rossetti belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#87
King Cophetua and the Beggar Maid
At rank 87, "King Cophetua and the Beggar Maid" by Edward Burne-Jones belongs to the chapter "Literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate action collective or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#88
Island of the Dead
At rank 88, "The Island of the Dead" by Arnold Böcklin belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#89
Vision after the sermon
At rank 89, "Vision after the sermon" by Paul Gauguin belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#90
The Yellow Christ
At rank 90, "The Yellow Christ" by Paul Gauguin belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#91
The Entry of Christ into Brussels
In rank 91, "The Entry of Christ into Brussels" by James Ensor belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#92
The great Red Dragon and the Woman Clothed in the Sun
In rank 92, "The Great Red Dragon and the Woman Clothed in the Sun" by William Blake belongs to the chapter "Literature, the Social Question and Modern Stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve a collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, asian sculptures, duplicates and works were excluded.
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#93
The ghost of a flea
In rank 93, "The Ghost of a Flea" by William Blake belongs to the chapter "Literature, the Social Question and Modern Stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or shared memory. This work was selected for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
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#94
The night
At rank 94, "The Night" by Max Beckmann belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#95
Sad legacy
At rank 95, "Sad Legacy" by Joaquin Sorolla belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#96
Potato Eaters
In rank 96, "The Potato Eaters" by Vincent van Gogh belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they initiate collective action or a shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works were excluded.
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#97
The Electricity Fairy
At rank 97, "La Fée Électrcité" by Raoul Dufy belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#98
The city rises
In rank 98, "The city rises" by Umberto Boccioni belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and works asians were excluded.
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#99
The Revolt
At rank 99, "The Revolt" by Luigi Russolo belongs to the chapter "literature, the social question and modern stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or shared memory. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and Asian works have been excluded.
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#100
The Machine Gun
At rank 100, "The Machine Gun" by CRW Nevinson belongs to the chapter "Literature, the Social Question and Modern Stories". History painting is not limited to the illustration of a dated event: it also depicts biblical stories, mythology, literature, political allegory and social conflicts when they involve collective action or a memory shared. This work was chosen for the strength of its narration, its visual influence and its place in Western culture. The classification thus brings together Renaissance frescoes, baroque dramas, revolutionary paintings and modern visions without confusing notoriety and absolute value. RW Isolated portraits, landscapes without story, photographs, prints, sculptures, duplicates and asian works were excluded.
View product →What the ranking reveals
One hundred paintings, three memory operations
Each scene selects a decisive moment, prioritizes the views and transforms an action into a lasting image. Documentary accuracy matters, but it never exhausts the power of the painted narrative.
The moment focuses the action
The painter chooses the moment which contains what precedes and what will follow: oath, fall, apparition, victory or condemnation.
Composition distributes roles
Axes, groups, voids and gestures make it clear who acts, who suffers and where the spectator places himself.
Memory remains constructed
A painted event becomes an interpretation: heroic, critical, religious, national or deeply ambivalent.
A Western history of the great kind
Five benchmarks to follow the painted story
In Padua, gestures, looks and volumes make religious episodes immediately readable and emotionally close.
Michelangelo and Raphael transformed vaults and palaces into universal architectures of the Bible, philosophy and power.
Caravaggio, Rubens and their contemporaries bring the action of the spectator closer together through chiaroscuro, body and movement.
The Oath of the Horatii establishes the neoclassical language of a public virtue tested by sacrifice.
The Raft of the Medusa proves that a contemporary disaster can receive the scale and ambition of great history painting.
History painting in depth
What's history painting?
In the Western academic hierarchy, history painting occupied the first rank because it had to bring together composition, anatomy, expression, architecture, costume and knowledge of texts. Its subject could come from the Bible, Antiquity, mythology, literature or a historical event.
The Renaissance transforms the story into a coherent space. Giotto gives gestures a human gravity; Masaccio organizes figures through perspective; Van Eyck densifies the symbol; Leonardo, Michelangelo and Raphael give the body, the gaze and architecture a monumental ambition.
In the 17th century, Caravaggio, Rubens, Rembrandt, Velazquez, Poussin and Veronese built very different theaters. Chiaroscuro brings the action together, the diagonal accelerates the movement, the color magnifies the ceremonial and the gesture transforms the text into a visible decision.
Starting with David, Goya, Géricault and Delacroix, the contemporary event can receive the scale once reserved for ancient heroes. Revolution, empire, massacre, shipwreck and insurrection become subjects capable of celebrating power, contesting it or exposing its victims.
In the 19th and early 20th centuries, Courbet, Repin, Eakins, Pellizza da Volpedo, Sorolla, Ensor, Beckmann and Nevinson further moved the genre. Work, medicine, procession, poverty, crowds and modern warfare enter into a painted story that no longer necessarily promises heroes.
Four reading keys
How to read a story scene
Moment, gesture, space and light allow us to understand how a narration becomes a memorable image.
Identify the seesaw
Identify the precise moment chosen: just before the action, at the height of the crisis or in its consequences.
Follow decisions
Arms raised, hand outstretched, gaze averted or body overturned make the balance of power visible.
Understand hierarchy
Foreground, crowd, architecture and depth distribute the roles and regulate the place of the spectator.
Read the judgment
A beam can point to a hero, isolate a victim, reveal an apparition, or make the story morally uncertain.
Paints, products and references
Continue in the Famous Paintings collection
Frequently asked questions
History painting without a fixed narrative
The essential benchmarks for understanding the genre, its subjects, its Western scope and the links to reproductions.
How were the hundred paintings classified?
The first twenty bring together the most recognized images. The following four chapters organize a critical progression: sacred foundations, baroque theater, revolution and national memory, then literature and social modernity. Rank guides reading without claiming to measure absolute value.
Is a religious scene a history painting?
Yes. In the Western academic tradition, biblical and hagiographic subjects belong fully to history painting, in the same way as mythological, literary and historical stories.
Why include mythologies and literary works?
Because gender is defined by ambitious storytelling and human action, not just the archive of a real event. Botticelli, Titian, Poussin, Moreau or the Pre-Raphaelites translate founding stories into collective images.
Does the classification only contain paintings?
Yes. Photographs, prints, stand-alone drawings, sculptures and objects have been excluded. The corpus, however, preserves the frescoes and painted panels essential to the history of the genre.
Are there any Asian works?
No. The perimeter follows only European and American traditions, in accordance with the Asian exclusion order.
Do the images exactly match the products?
Yes. Two old visuals that have become obsolete were resynchronized before rendering.
Why do certain social scenes appear at the end?
Because the 19th century extended narrative ambition to contemporary life. Courbet, Repin, Eakins, Pellizza da Volpedo and Sorolla give work, medicine and the crowd the scale once reserved for heroes.
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