The Increasing Relevance of Apocalypse Art Today
**The Art of Apocalypse: Reflections at the BnF, Paris**
In 2025, when global crises highlight humanity’s shortcomings in warding off existential threats, the Book of Revelation’s stark depictions of the struggle between virtue and evil seem particularly poignant. The Bibliothèque nationale de France (BnF) in Paris is exploring this theme with “Apocalypse: Today and Tomorrow,” an exhibition that delves into the rich history of apocalyptic art to deliver a timely critique.
Housed in the exhibition hall of BnF’s François-Mitterrand site, the show leverages its extensive Medieval European manuscripts collection, showcasing not only these historical treasures but also their modern artistic interpretations. The exhibition draws connections between classical representations, such as Albrecht Dürer’s intricate woodcuts and William Blake’s ethereal paintings, with modern responses from artists like Wassily Kandinsky and Odilon Redon.
The apocalypse, or Revelation, is the Bible’s most vividly descriptive book. Through allegory, its author, John of Patmos, compels readers to choose moral integrity over vice. The innate urgency of the text lies in its call for ethical awakening — a challenge from the past that resonates with contemporary audiences as a prompt to combat inner moral complacency.
The exhibition juxtaposes Medieval interpretations with subsequent reinterpretations. A 13th-century manuscript from Salisbury presents the Biblical combat between a dragon and a woman clothed with the sun, while Dürer’s late 15th-century woodcuts capture similar themes of celestial battle and moral trial. This contrast continues with artists like Odilon Redon, whose stark grayscale lithographs visualize Revelation 20’s theme of binding evil without traditional angelic themes.
The Whore of Babylon from Revelation 17, one of the book’s iconic figures, is revisited here. Medieval and Renaissance depictions often teetered between spiritual allegory and overt narratives of worldly temptations, as seen in Blake’s 1809 portrayal that carries overt erotic tones. These varied renditions provide rich commentary on power and excess, reflecting timeless human struggles.
Modern pieces, such as Anne Imhof’s abstract response to current global crises, close the exhibit, albeit controversially. While they expand the apocalyptic discourse, critics suggest a tighter focus could have emphasized direct connections to Revelation. Nonetheless, the value of these contemporary reflections lies in their challenge to ponder the interpretation of catastrophe today.
“Apocalypse: Today and Tomorrow” ultimately underscores the enduring power of apocalyptic imagery in art. By connecting historical and modern perspectives, the exhibit fosters reflection on the persistent balance between good and evil, inspiring contemporary viewers to confront both internal and external challenges head-on.
The exhibition remains open at the Bibliothèque nationale de France until June 8, curated by Jeanne Brun.