Pompeo Batoni’s The Return of the Prodigal Son, depicting a father receiving his returning son.
The Art of Reconciliation
Batoni painted the return. The Eubanks reveal how difficult reconciliation can be. Read more...
Detail from Raphael's The Transfiguration, showing a father holding his son below the mountain — an image of earthly care and staying, explored in Theresa Rézeau's essay for The Image and Culture Journal.
The People Who Stayed
Raphael left the painting unfinished. He died before the miracle arrived. Some of us are still waiting below the mountain. Read more...
George Frederic Watts, Hope, 1886 — a blindfolded woman seated on a globe, holding a lyre with a single remaining string
What If Hope Is the Drug?
When does perseverance become a refusal to accept evidence? Theresa Rézeau reflects on George Frederic Watts’s Hope (1886). Read more...
Gustav Klimt, The Three Ages of Woman — a mother holds her sleeping child
Forever 21
At twenty-one, a daughter steps into a life of her own. Through the lens of Klimt, a mother learns that love must let her go. Read more...
A detail evoking the quiet presence of Leonardo da Vinci's Mona Lisa — an essay by Theresa Rézeau
Divine Elegance
Theresa Rézeau on Leonardo da Vinci’s Mona Lisa and what it means to hold a room without trying. Read more...
The Bill Arrived. The Job Didn’t.
The Bill Arrived. The Job Didn’t.
The bill has arrived. The job hasn't. Read more...
Vincent van Gogh, Prisoners' Round, 1890, prisoners walking in a circular exercise yard at Saint-Paul-de-Mausole asylum, Saint-Rémy
Even the Jailbird Sings
Theresa Rézeau on Van Gogh's Prisoners' Round and the freedoms no wall has ever learned how to contain. Read more...
Jean-François Millet, The Sower — a labourer mid-stride scattering grain across a rust-coloured field at dusk
The Boss
Theresa Rézeau on Millet's The Sower and José Mujica: power, freedom, and the quiet authority of those who plant rather than accumulate. Read more...
Jusepe de Ribera, The Clubfoot, 1642, oil on canvas, Louvre, Paris. A smiling boy with a clubfoot stands confidently against a pale sky, holding a paper asking for alms.
The Dignity of Difference
Theresa Rézeau on Ribera's The Clubfoot and what a smiling boy in 1642 still reveals about dignity, disability, and human worth. Read more...
Wilted and blooming flowers on a balcony, evoking themes of impermanence and beauty, explored in The Last Flower by Theresa Rezeau
The Last Flower
Theresa Rézeau on Rachel Ruysch's still life paintings and what wilting flowers teach us about beauty, time, and the grace of letting go. Read more...
Thomas Andrews, designer of the Titanic, explored through J. M. W. Turner's The Shipwreck, 1805, in an essay by Theresa Rézeau
The Man Who Built the Impossible
Theresa Rézeau on Turner's The Shipwreck and Thomas Andrews, the man who designed the Titanic and watched it disappear in a single night. Read more...
Henri Rousseau, The Football Players, 1908, oil on canvas, depicting four figures in a dreamlike open landscape
Jersey Number 10
Today, the world will watch a World Cup final. Once again, millions will look to the player wearing the number 10. Henri Rousseau saw it first. Read more...
William Hogarth, The Reward of Cruelty, 1751. The final engraving in The Four Stages of Cruelty series, depicting the public dissection of an executed murderer.
The Monsters We Create
Theresa Rézeau on Hogarth's Four Stages of Cruelty and the society that keeps producing the conditions for youth violence. Read more...
Léon Bonnat, Jacob Wrestling with an Angel, 1876 — seen at Sotheby's London, July 2026
Change My Name
Theresa Rézeau on Bonnat's Jacob Wrestling with an Angel and what a new name cannot do alone. Read more...
Painting depicting moral blindness and the refusal to see, referencing Pieter Bruegel the Elder's The Blind Leading the Blind
The Blindness of the Sighted
Blindness and the refusal to see are not the same thing. Theresa Rézeau on Bruegel and what we choose not to see. Read more...
Theresa Rézeau's grandmother, whose quiet act of generosity during Zimbabwe's 1992 drought left a lasting impression.
Year 1992
Theresa Rézeau on Van Gogh's Potato Eaters and a year in Zimbabwe she has never left behind. Read more...
Katsushika Hokusai, Matsuri Yatai Dragon — Theresa Rézeau Fine Art
The Invisible Candidate
Why does experience become invisible with age? Theresa Rézeau explores ageism in the workplace through Hokusai's late masterwork. Read more...
Michelangelo's Creation of Adam, Sistine Chapel — the divine hand reaching toward man, explored in The Hand of God by Theresa Rézeau
The Hand Of God
Maradona called it the hand of God. Theresa Rézeau on Michelangelo and the most controversial gesture in football history. Read more...
Inside Sotheby's auction room, exploring the history and cultural value of art auctions, essay by Theresa Rézeau for The Image & Culture Journal
Inside the Auction Room
Theresa Rézeau on a day at Sotheby's, Max Slevogt, and what the hammer price truly reveals about cultural value. Read more...
Green Park Station, London — a reflection on fatherhood, sacrifice, and shared humanity, essay by Theresa Rézeau for The Image & Culture Journal
Father’s Day at Green Park Station
Theresa Rézeau on Khalil Gibran's Anguish and a Syrian father at Green Park Station who refused to abandon those he loved. Read more...
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