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The checkmate of life. The Chess Players, by Mori The checkmate of life.

The Chess Players, by Moritz Retzsch.

A young man plays chess against Satan himself, cloaked in green, across a board set on a coffin, while his guardian angel watches in anguish. He appears to be losing, and the pieces look strangely sinister: one tramples the cross, another makes a false gesture of peace while hiding a dagger, and a spider creeps towards him. It is the young man’s move, and the board shows that he can actually checkmate his opponent in a single act of resistance against Evil.

Moritz Retzsch (German, 1779–1857) was a painter, draughtsman and etcher and one of the most influential literary illustrators of German Romanticism. Born in Dresden, he entered the Academy of Fine Arts 1798, studying under Cajetan Toscani and Joseph Grassi before developing through independent practice and study of Old Masters. Elected to the Academy in 1816 and appointed professor in 1824, he combined institutional recognition with a career shaped by literature and print culture.

Retzsch developed a distinctive form of outline etching, reducing figures and settings to contours, sparse detail and expressive gesture. Influenced by Neoclassical line yet animated by Romantic imagination, his compositions transformed literary narratives into lucid sequences resembling silent theatre. His interpretations of Goethe, Schiller, Shakespeare and Bürger captured psychological and moral conflict rather than illustrating scenes, and the circulation of his Faust designs helped shape how German literature was imagined across Europe. Though he also painted portraits, religious subjects, history scenes and allegories, his reputation rested chiefly on reproducible prints whose simplicity made them adaptable. Copies, translations, theatrical versions and political satires carried his imagery beyond its original context. Dividing his later life between Dresden and Oberlößnitz, Retzsch left a legacy at the intersection of Romantic literature, Neoclassical line and modern publishing.

32.3 × 39 cm (12¾ × 15⅜ in). Oil on panel, 1831.
Private collection.

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A blue spell. Portrait of Mercedes Llorach, by Ra A blue spell.

Portrait of Mercedes Llorach, by Ramón Casas.

Mercedes Llorach i Dolsa appears at the threshold between society portrait and modern decorative painting. Born into a family enriched by Rubinat-Llorach medicinal waters, she belonged to one of Barcelona’s most cosmopolitan social circles. The blue bench and pale dress turn the interior into a modernist arrangement, while her relaxed arm and steady gaze prevent the image from becoming merely ornamental. Casas makes his portraits of bourgeois femininity look both fragile and self-possessed, a cool intelligence in the refined Barcelona’s fin-de-siècle.

Ramón Casas (Spanish, 1866–1932) was one of the defining figures of Catalan Modernism, celebrated for his elegant portraits, urban scenes and graphic modernity. Born in Barcelona into a prosperous family, he showed precocious talent and trained first in the city before completing his formation in Paris, where the world of Carolus-Duran, naturalism and Belle Époque visual culture sharpened his fluid brushwork and cosmopolitan eye.

Together with Santiago Rusiñol and Miquel Utrillo, Casas became central to the artistic renewal of fin-de-siècle Barcelona. His connection to Els Quatre Gats, the legendary modernist café inspired by Parisian bohemia, helped introduce French artistic currents to Catalonia and shape a distinctly modern Catalan visual culture. Between Paris and Barcelona, he turned the modern city into a stage of cafés, bicycles, cabarets, promenades, posters and social encounters.

Casas is particularly known for his portraits of writers, artists and society figures, as well as for his iconic images of urban leisure and public life. His work combines elegance with psychological acuity, international sophistication with local identity. More than a painter of bourgeois charm, he became one of the great visual chroniclers of modern Barcelona: one of the great visual chroniclers of modern Barcelona: a bridge between Spanish painting, Catalan Modernisme and the broader European culture of the fin de siècle.

73 × 61 cm (28¾ × 24 in). Oil on canvas, 1901.
Museo Reina Sofía, Madrid.

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Such a fashionable gentleman. Portrait of Joachim Such a fashionable gentleman.

Portrait of Joachim Rendorp, by Jean-Étienne Liotard.

The regent and later burgomaster of Amsterdam in Rococo ease. Pink had not yet acquired its modern coding as a feminine color: in eighteenth-century Europe, elite men could wear it as a sign of wealth, power, cosmopolitan refinement and French-inflected taste. His slight smile, powdered hair and controlled turn toward the viewer suggest a world in which authority no longer needs armour, darkness or ceremony to assert itself.

Jean-Étienne Liotard (Swiss, 1702–1789) was one of the most cosmopolitan artists of the eighteenth century, renowned for his mastery of pastel and uncompromising naturalism. Born in Geneva, he first trained in the meticulous arts of miniature and enamel painting before moving to Paris, where he worked under Jean-Baptiste Massé, a formation that shaped the precision and delicacy of his later portraits. Liotard worked across Europe before travelling to Constantinople in 1738, an experience that transformed both his art and persona. There he portrayed diplomats, merchants, Ottoman figures and European sitters in Eastern dress, developing the luminous realism and observational precision that earned him the nickname le peintre turc.

His Turkish period was not mere exoticism: it sharpened his attention to costume, surface, identity and cultural performance. Upon his return, Liotard became one of the most sought-after portraitists of Enlightenment Europe, painting for aristocratic, diplomatic and royal circles in Vienna, Paris, London, Holland and Geneva. His portraits, stripped of Baroque pomp, emphasize immediacy and texture: silks, jewels, lace, powdered skin and porcelain surfaces rendered with astonishing clarity. In his Traité des principes et des règles de la peinture (1781), he championed simplicity and truth to nature, elevating likeness into a study of character, presence and visible truth.

59 × 49 cm (23¼ × 19¼ in). Pastel on parchment, 1757.
Rijksmuseum, Amsterdam.

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When you know you screwed up. Philip IV in Black, When you know you screwed up.

Philip IV in Black, by Diego Velázquez.

No battlefield, no allegory, no ceremonial excess: only a king confronting the burden of a vast empire in decline. Behind the weary face lie decades of war, the fall of Olivares, the revolts of Catalonia and Portugal, Rocroi, Dutch independence and the rise of France.

Diego Velázquez (Spanish, 1599–1660) was the leading painter of the Spanish Golden Age and one of the most influential figures in Western art. Born in Seville, he trained with Pacheco, whose daughter Juana he married in 1618. Though Pacheco gave him theory, contacts and rules of religious decorum, Velázquez soon moved beyond his master’s idealism. Working from life, he developed an austere naturalism shaped by dramatic light, material precision and a serious interest in ordinary people, turning kitchens, taverns and humble objects into subjects of pictorial inquiry. Summoned to Madrid in 1623, he secured Philip IV’s patronage and remained in royal service for life. Venetian painting, Rubens and Italian journeys expanded his early tenebrism into a lighter, atmospheric language, where abbreviated strokes resolve into optical truth from a distance.

As court painter, Velázquez portrayed monarchs, aristocrats, soldiers, clerics, entertainers and people with disabilities with the same restrained penetration, balancing rank with individual presence. His art shifted from describing objects to capturing sight itself: air, distance, reflected light and the act of looking. He was also a court official, curator, collector and designer of royal spaces, acquiring paintings and antiquities for the king during his second Italian journey. His studio relied partly on Juan de Pareja, an enslaved assistant whom he later freed and who became a painter. Velázquez’s rise culminated in his appointment as aposentador mayor and admission to the Order of Santiago in 1659. His masterpiece Las Meninas is regarded as one of the landmarks of Western art.

67 × 55 cm (26⅜ × 21⅝ in). Oil on canvas, c. 1623–1624.
The Metropolitan Museum of Art, New York.

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Just a glimpse. Miss Diana Dickinson, by John Lav Just a glimpse.

Miss Diana Dickinson, by John Lavery.

As the artist’s granddaughter, Diana Dickinson inherited not only a privileged place within Lavery’s affections, but also the full benefit of his long experience portraying the elegant women of London high society. Although we can only guess at one ankle of hers, her pose from behind exudes sensuality and sophistication, with a stunning see-through treatment of the fabrics that is actually quite daring for the puritan moral of the time.

John Lavery (Irish-born, 1856-1941) was a successful portraitist, society painter and war artist. Born in Belfast and trained in Glasgow, he spent the early 1880s in Paris, studying at the Académie Julian and under the influence of the naturalism of Jules Bastien-Lepage. In 1883 he worked at Grez-sur-Loing, the international artists’ colony near Fontainebleau, where his painting absorbed the plein-air freshness and atmospheric sensibility that would remain central to his work. Returning to Glasgow, he became associated with the Glasgow Boys, the group that renewed Scottish painting through realism, informality and a freer handling of light. His decisive breakthrough came with the commission to paint Queen Victoria’s visit to the Glasgow International Exhibition of 1888, which opened the doors of official patronage and high society. Established in London, Lavery became one of the most elegant chroniclers of the British and Irish elites, giving his sitters an air of worldly sophistication, ease and cultivated modernity. His success also allowed him to return repeatedly to landscape, especially in Tangier, where his palette became brighter and more sensuous. During the First World War he worked as an official war artist, while his Irish connections later placed him close to the negotiations surrounding the Anglo-Irish Treaty of 1921. His wife Hazel, one of his most celebrated muses, was eventually used as the allegorical image of Ireland on Irish banknotes, sealing Lavery’s rare ability to move between portraiture, politics and national mythology.

156 × 121 cm (61⅜ × 47⅝ in). Oil on canvas, 1963.
Private collection.

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