Priya Kapoor
Hulu's comedy series *What We Do in the Shadows* features several paintings that reference the show's characters, including the vampires Nandor, Nadja, and Laszlo. In the show's pilot, Nandor admires a portrait of himself in a traditional Islamic style, riding his beloved horse, Jahar. Another portrait of Nandor from his human years, inspired by a painting of Mirza Abu’l Hasan Khan, is displayed in the opening credits. A painting of Nadja, naked with wings and demon eyes, is shown when Laszlo first met her. This painting has been identified as La Femme Chauve-Souris by Albert Joseph Pénot. In Season 5, a Jean-Léon Gérôme oil painting, Truth Coming Out of Her Well, is reinterpreted to depict Nadja's vampiric exile.
| Characteristics | Values |
|---|---|
| Painting Title | Truth Coming Out of Her Well |
| Artist | Jean-Léon Gérôme |
| Painting Medium | Oil |
| Painting Subject | Naked woman |
| Painting Details | Depicts a naked woman emerging from a well to shame mankind |
| Show Context | Used to depict Nadja of Antipaxos' vampiric exiles |
| Show | What We Do in the Shadows |
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What You'll Learn
- Jean-Léon Gérôme's painting Truth Coming Out of Her Well is reinterpreted to depict Nadja of Antipaxos
- The painting serves as a historical record of Nadja's vampiric exiles
- A portrait of Nandor from his human years is an almost exact replica of William Beechy's painting of Mirza Abu’l Hasan Khan
- Another portrait of Nandor on horseback is inspired by a painting of Karim Khan Zand, founder of the Zand dynasty
- A painting of Nadja with wings and demon eyes is referenced when Laslo recalls first meeting her
Jean-Léon Gérôme's painting Truth Coming Out of Her Well is reinterpreted to depict Nadja of Antipaxos
In the reinterpretation of Jean-Léon Gérôme's iconic painting "Truth Coming Out of Her Well," the focus shifts to Nadja of Antipaxos, a powerful and enigmatic vampire character from the beloved comedy series "What We Do in the Shadows." This new rendition retains the original's neoclassical style while introducing a supernatural twist that pays homage to the vampire genre.
In this reimagined scene, Nadja, the vampiric baroness with a penchant for drama and seduction, takes center stage. She emerges from the well, her pale skin contrasting dramatically with the dark waters from which she rises. Nadja's pose mirrors that of Gérôme's original Truth figure, with one leg raised and an expressive gesture that commands attention. Her long, flowing hair cascades over her shoulders, and her intense gaze fixes directly on the viewer, exuding both allure and danger.
The painting captures Nadja's vampiric nature through subtle yet crucial details. Her skin, though pale, has a subtle hint of the undead, with a slight bluish tint that contrasts with the warm, golden light that illuminates the scene. Her sharp fangs are just visible, adding a sinister element to her otherwise seductive expression. The water from which she emerges takes on a supernatural quality, with subtle ripples and reflections that suggest an otherworldly presence.
The backdrop of the painting remains true to the original, with a dark cave-like setting that adds a sense of mystery and intrigue. The well, a symbol of knowledge and revelation, becomes a fitting setting for Nadja, who, like the embodiment of Truth, reveals the hidden and the unseen. The surrounding rocks and dark caverns suggest a journey into the unknown, reflecting the supernatural world of vampires that exists alongside our own.
To emphasize Nadja's vampiric nature and pay homage to her character in "What We Do in the Shadows," subtle references to her vampire lifestyle are incorporated into the painting. A bat, a symbol often associated with vampires, may be discreetly perched on a nearby rock, watching over the scene. The moon, a source of power and transformation for vampires, could be visible through the opening of the cave, its soft light adding a mystical element to the composition.
In this reinterpretation, Nadja of Antipaxos steps into the role once occupied by the allegorical figure of Truth, blending Gérôme's neoclassical style with the captivating world of vampires. It invites viewers to consider the intersection of art, fantasy, and the allure of the supernatural, all while paying tribute to one of the most memorable characters from the comedic vampire series.
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The painting serves as a historical record of Nadja's vampiric exiles
The Jean-Léon Gérôme oil painting "Truth Coming Out of Her Well" serves as a historical record of Nadja of Antipaxos' vampiric exiles. The painting depicts a naked woman, Truth, emerging from a well to shame mankind. In the context of the show, "What We Do in the Shadows," the painting takes on a new meaning. Rather than being a metaphor or sociopolitical commentary, it is presented as a depiction of Nadja's many vampiric exiles. This interpretation is reinforced by the show's use of other familiar works of art as visual aids, blurring the line between the supernatural and human reality.
The painting first appears in Season 5 when the Staten Island vampires are preparing to flee after Nandor's televised blunder. It is one of at least four Gérôme paintings centered on Truth in her well, with interpretations ranging from broad philosophy to specific commentary on contemporary events. However, the show offers a unique perspective by placing Nadja at the center of the painting, connecting it to her character arc and struggle with identity.
The artistic rendering of Nadja in the Gérôme painting was created by Instagram user Scadarts, who is known for reimagining popular culture characters as epic oil paintings. Scadarts began their collaboration with the show in Season 4, bringing their unique style to the show's reinvented historical paintings. The painting of Nadja is a powerful example of how "What We Do in the Shadows" uses art to enhance its world-building and character development, creating a duality between the supernatural and the mundane.
The show's interpretation of the painting as a record of Nadja's exiles adds a layer of depth to both the character and the artwork itself. It suggests that Nadja's experiences are ancient history for the audience but still a part of her undying existence. This interpretation also allows the show to explore themes of exile, identity, and reconnection, as Nadja seeks to reconnect with her Antipaxos culture after a string of exiles.
Overall, the naked vampire painting, "Truth Coming Out of Her Well," serves as a pivotal element in the show's narrative, providing a visual representation of Nadja's vampiric exiles and enriching the audience's understanding of her character and journey.
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A portrait of Nandor from his human years is an almost exact replica of William Beechy's painting of Mirza Abu’l Hasan Khan
In the Hulu comedy series What We Do in the Shadows, Nandor the Relentless, a 760-year-old vampire played by Kayvan Novak, was once a general of the Ottoman Empire. Now, he resides in Staten Island with his vampire roommates. In the opening credits of the show, a portrait of Nandor from his human years is displayed. This painting is an almost exact replica of the Portrait of Mirza Abu’l Hasan Khan, Envoy Extraordinary from the King of Persia to the Court of King George III, painted by British artist William Beechy in 1809.
In the painting, Nandor stands authoritatively, dressed in a gold brocade robe with a fur-trimmed sleeveless vest and a high turban. Much like Nandor’s assignment to his New York borough, Mirza Abu’l Hasan was Fath-Ali Shah’s ambassador to London. Mirza Abu’l Hasan lived in England for less than a year, yet he quickly became an object of fascination and the subject of paintings and poetry.
In the show’s pilot, another portrait of Nandor is shown, this time painted in a traditional Islamic style. He is depicted sitting atop his beloved horse, Jahar, in a typical example of historical portrayals of Ottoman Emperors. One such emperor is Karim Khan Zand, founder of the Zand dynasty that ruled Persia from 1751 to 1779. The painting of Karim Khan Zand on horseback very likely served as the source for Nandor’s portrait. It is attributed to the artist Abu’l Hasan Ghaffari Mustawfi Kashani and was likely completed during Karim Khan’s reign.
In addition to these portraits of Nandor, paintings of other characters in What We Do in the Shadows have also been referenced in the show. For example, a painting of Nadja, a fellow vampire roommate of Nandor, is shown a few times during the show. In the painting, Nadja is naked with wings and demon eyes. This painting is a well-known work by Albert Joseph Pénot titled "La Femme Chauve-Souris."
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Another portrait of Nandor on horseback is inspired by a painting of Karim Khan Zand, founder of the Zand dynasty
In Hulu's comedy series What We Do in the Shadows, Kayvan Novak plays Nandor the Relentless, a 760-year-old vampire and former general of the Ottoman Empire. In the show's pilot, Nandor admires a portrait of himself painted in a traditional Islamic style. In the portrait, he is depicted sitting on his beloved horse, Jahar. This painting is inspired by a similar portrait of Karim Khan Zand, the founder of the Zand dynasty that ruled Persia from 1751 to 1779. Khan Zand's horseback portrait, attributed to the artist Abu’l Hasan Ghaffari Mustawfi Kashani, was likely completed during his reign. It is a typical example of historical portrayals of Ottoman Emperors.
Nandor's character in What We Do in the Shadows is revealed through various artworks throughout the series. In the opening credits, another regal portrait of him from his human years is displayed. This painting is based on Portrait of Mirza Abu’l Hasan Khan, an 1809 work by British artist William Beechy.
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A painting of Nadja with wings and demon eyes is referenced when Laslo recalls first meeting her
In the Hulu comedy series What We Do in the Shadows, there is a painting referenced when Laslo recalls first meeting Nadja. The painting depicts Nadja naked, with wings and demon eyes. This painting is shown a few times throughout the show. It is a well-known painting, titled La Femme Chauve-Souris by Albert Joseph Pénot.
The inclusion of this painting in the show adds to the world-building and duality of What We Do in the Shadows. The show presents a world similar to that of the viewers, but with supernatural elements and tweaks to mundane events. The painting of Nadja is one of many examples of art used as a visual aid in the show, reinforcing the subtle foothold the supernatural has over human reality.
In addition to the painting of Nadja with wings, there are several other artistic depictions of the characters in What We Do in the Shadows. For example, in the opening credits, a regal portrait of Nandor from his human years is displayed. This painting is an almost exact replica of Portrait of Mirza Abu’l Hasan Khan, an 1809 work by British artist William Beechy. Another example is a patinaed portrait of Nandor's horse, Jahar, in the style of a traditional Islamic portrayal of an Ottoman Emperor.
The show also features a famous painting by Jean-Léon Gérôme, titled "Truth Coming Out of Her Well", which is reinterpreted in the show as a historical record of one of Nadja of Antipaxos' vampiric exiles. This artistic rendering further emphasizes Nadja's Season 5 narrative, in which she seeks to reconnect with her culture in Little Antipaxos.
Through its use of art, What We Do in the Shadows creates a unique blend of lore and sitcom antics, enriching the storytelling and providing a new perspective on familiar works of art.
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Frequently asked questions
The painting is called "Truth Coming Out of Her Well".
The painting is by Jean-Léon Gérôme.
The painting depicts a naked woman emerging from a well to shame mankind.
The painting is used as a visual aid to reinforce the subtle foothold the supernatural has over human reality. It also serves as a historical record of one of Nadja of Antipaxos' vampiric exiles.
Yes, another painting featured in the show is a portrait of Nandor from his human years, which is an almost exact replica of "Portrait of Mirza Abu’l Hasan Khan, Envoy Extraordinary from the King of Persia to the Court of King George III" by British artist William Beechy in 1809.
![Historic Framed Print, [Man (vampire?) embracing unconscious naked woman; full moon and castle in background], 17-7/8" x 21-7/8"](https://m.media-amazon.com/images/I/416TfIHQTFL._AC_UL320_.jpg)
