Iconic artwork from every country in Europe

[EndtheMadnessNow]

30. North Macedonia: "Moses Parting the Red Sea" from the Paris Psalter (10th century)



31. Norway: "The Scream" - Edvard Munch (1893)



32. Poland: "Battle of Grunwald" - Jan Matejko (Created: 1872–1878)


Super massive size

33. Portugal: "Jesus in the House of Marta" - Vasco Fernandes (c.1535)



34. Romania: "Oxcart" - Nicolae Grigorescu (1899)



35. Russia: "Ivan the Terrible and His Son Ivan" - Ilya Repin (1885)



36. Serbia: "The Wounded Montenegrin" - Paja Jovanović (c.1882)



37. Slovakia: "Labyrinth of the World and Paradise of the heart V - War" - Albin Brunovsky (1990)




38. Slovenia: "Spring" - Ivan Grohar (1903)



39. Spain: "Las Meninas" ('The Ladies-in-waiting') - Diego Velázquez (1656)

The painting is believed by F. J. Sánchez Cantón to depict a room in the Royal Alcazar of Madrid during the reign of King Philip IV of Spain, and presents several figures, most identifiable from the Spanish court, captured in a particular moment as if in a snapshot.[b][2] Some of the figures look out of the canvas towards the viewer, while others interact among themselves. The five-year-old Infanta Margaret Theresa is surrounded by her entourage of maids of honour, chaperone, bodyguard, two dwarfs and a dog. Just behind them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards beyond the pictorial space to where a viewer of the painting would stand.[3] In the background there is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the picture space in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on.

Las Meninas has long been recognised as one of the most important paintings in the history of Western art. The Baroque painter Luca Giordano said that it represents the "theology of painting", and in 1827 the president of the Royal Academy of Arts Sir Thomas Lawrence described the work in a letter to his successor David Wilkie as "the true philosophy of the art".[4] More recently, it has been described as "Velázquez's supreme achievement, a highly self-conscious, calculated demonstration of what painting could achieve, and perhaps the most searching comment ever made on the possibilities of the easel painting".
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