The truth is, Munch did not title this painting "Vampire." He called it "Love and Pain," and it was only later that it picked up the name and interpretation of a man locked in a vampire's embrace. The picture, completed in 1895, depicts a lady kissing a man's neck in an embrace that has been described as vampiric in nature. Munch's use of vivid colors and cryptic interpretation of the setting distinguishes the work. The identity of the vampire in the picture is open to interpretation, allowing viewers to form their own opinions on the piece.  

This artwork stands as a notable work within the Symbolism art movement. The central figure of the artwork is a surreal amalgamation, featuring a human face with an expression of somberness or distress on the body of a spider. This creature’s face, endowed with discernible human traits such as eyes brimming with emotion and a suggestion of tears, imparts a poignant sentiment that is heightened by the dark, intense lines of the charcoal medium. The fusion of human and arachnid elements elicits a sense of discomfort, potentially allowing an interpretation of the artwork as a reflection on the human psyche and the nature of internal conflicts or sorrows.  

The painting depicts Hercules facing the mythical beast Hydra. In Hercules and the Lernaean Hydra, Moreau captures Hercules during his most terrifying and horrible labor: slaying the Lernaean Hydra. According to tradition, the Hydra is a many-headed, serpentine creature with toxic breath and blood. According to legend, Hercules was unable to defeat the monster because two heads grew back every time he removed one. Finally, Hercules defeated the monster by cauterizing the stumps of each neck while removing the Hydra's heads. 

In 1884, Stuck released History of the Allegories and Emblems, which served as a forerunner to this painting. The image depicts a female figure standing between columns with doric capitals. Half-columns with doric capitals also form the sides of the gilded architectural frame in this later 1893 picture. During this period, Stuck's trademark was the erotic femme fatale, characterized by wide eyes, a skimpy dress, and a sensuous stance. "The Sin" shows a naked woman partially veiled by a big serpent wrapped around her. The woman's face is shadowed, her attitude intriguing, and her eyes seductive and disturbing. The serpent is frequently understood as a symbol of temptation and evil, emphasizing the idea of sin and the fall. 

Death and Life have two distinct halves. To the left, we see death. Death is shown alongside the conventional grim reaper, a grinning skull dressed in a dark gown adorned with symbols. The cross is the most common symbol used to represent death. To the right, we see life. We notice several young women sleeping on a flower bed. The artist's imagination is now focused on the expectation that precedes physical connection rather than the union itself. Perhaps Klimt's newfound serenity stems from his own consciousness of aging and impending mortality. 

Artist: Hugo Simberg

Created: 1903

Medium: Oil Paint

Dimensions: 127 cm × 154 cm (50 in × 61 in)

In 2006, the museum took a vote, and it was found that “The Wounded Angel” was the most well-liked piece in Finland. In the same year, the painting was named “Finland’s National Painting." The artist never revealed the true meaning of his painting. However, the Wounded Angel was painted when Simberg was recovering from a difficult illness and during a time of political unrest in Finland. The painting, therefore, symbolizes different elements of the artist’s personal suffering and that of the people around him. The wounded angel evokes feelings of pain, melancholy, and confusion.  

The Yellow Christ is a powerful and emotionally charged work that demonstrates Gauguin's innovative use of color and interest in spiritual and mystical themes. The picture depicts a crucifixion scene, with a yellow-skinned Christ hanging from a brown cross against a landscape background. This artwork is frequently seen as a sign of Gauguin's dissatisfaction with the Catholic Church, which he regarded as corrupt and hypocritical. The picture is noted for its dramatic use of color; the brilliant background complements the yellow figure of Christ. The use of color also conveys emotion and drama, with reds implying anger and blues offering calm and tranquility.  

Kuzma Petrov-Vodkin created the stunning 1912 picture Bathing of a Red Horse. It is one of the most well-known Russian paintings from the early twentieth century, and it has come to symbolize the country's impending tragedies. The red horse is a prominent emblem in the picture. Red is commonly associated with force, vigor, and revolution. In Russian legend, a red horse represents fiery vigor and dynamic change. This has caused many to see the artwork as a foreshadowing of the oncoming revolution and the profound changes it would bring. 

Hope II is a painting depicting a pregnant woman with closed eyes. It was the second of Klimt's works to focus on a pregnant woman, both depicting Herma, one of his favorite models. Klimt's 1903 painting Hope I depicts Herma, who is heavily pregnant and naked. In Hope II, she wears a long dress or robe with geometric patterns. She has long brown hair and closes her eyes, lowering her head to reveal her bare breasts and bulging tummy. A human skull representing death appears beneath her tummy, maybe indicating the perils of labor. Three women bow their heads at the foot of the artwork, maybe in prayer or sadness. 

Gustave Moreau, a French symbolist artist, created this oil painting in 1876. The artwork depicts Salome, the daughter of Herod II and Herodias, dancing in front of Herod Antipas, based on the New Testament. The picture depicts a vast and highly elegant palace where Salome, standing on her toes, performs a dance for Herod. She is dressed in magnificent jewels, holding a lotus blossom in her right hand, and rigidly extending her left arm. She appears to be frozen, or at most moving in a dead march. In the center, King Herod is seen sitting on the throne and facing forward, with an executioner on the right and a musician and Herodias on the left.