UFOs in Art History: Is It a Spaceship or a Cloud?

Unidentified Aerial Phenomena (UAPs), previously referred to as UFOs, are often linked to conspiracy theories. Passionate ufologists have identified what they believe to be depictions of UFOs in various artworks throughout history. However, art historians typically offer alternative explanations for this artistic iconography.

In this article, we will explore several examples of art pieces that ufologists have claimed show evidence of UFO sightings. We will then examine the differing perspectives and interpretations put forth by both ufologists and art historians regarding the nature and meaning of these artistic representations.

By investigating this topic from multiple angles, we aim to provide a balanced understanding of the long-standing debate surrounding the potential inclusion of UAP/UFO imagery in the annals of art history.

 

 

In this illustration of Fortuna by Jacque Legrand, a shiny golden orb can be seen in the sky. A group of men on the upper right of the image appear to gaze in awe at this golden spherical shape. In the foreground below, there are five men – two walking towards the right side of the page, while three are approaching a woman positioned directly beneath the golden sphere in the sky, with a wheel behind her.

For ufologists, this golden sphere represents an image of a UFO. They believe the rays surrounding the orb could either be smaller UFOs or energy emanating from the main spherical object. Some ufologists even describe these rays as drones connected to the larger central UFO. Furthermore, ufologists argue that the men on the upper right side are reacting with surprise and wonder at the sudden appearance of these unidentified aerial phenomena before them.

However, art historians typically offer a different interpretation, contending that the golden orb is not intended to depict a UFO at all. They propose alternative explanations for the symbolism and meaning behind this iconography within the larger context of the artwork.

This divergence in perspectives highlights the ongoing debate between ufologists, who see evidence of extraterrestrial visitation in historic art, and art historians, who seek more conventional interpretations grounded in the artistic traditions and symbolic language of the time period.

 

 

 

In this illustration of Fortuna by Jacque Legrand, art historians look at the writing that’s inscribed below the portrayed woman. Written below her is the word “Fortune”. This describes the female figure as Lady Fortune, the personification of luck.

The wheel behind her is the object most commonly associated with her, while the orb placed above her in the sky is the object most ancient civilizations would have recognized her by.

 

 

In this Italian Renaissance tempera painting, Madonna Adoring the Christ Child, art historians note that what seems like a typical religious painting is changed into a surrealist piece because of the odd circular opening in the sky.

Three people are portrayed looking out of this opening—one is reaching out towards the landscape below while the other two watch. The man that is seen reaching out releases golden striations down to the ground. One of these observers holds their hands in prayer.

Ufologists see this circular opening as a UFO, while art historians disagree with this interpretation. Ufologists explain that the striations around the circle look similar to objects with lights, which they believe is characteristic of most UFO sightings, like the lights seen in airplanes. Some ufologists even believe that Christ is being “beamed down” in front of the Madonna, as he also has striations indicating light surrounding his form.

Ufologists also point to the kneeling monk on the right-hand side, who looks up at the object in the sky, confirming its existence while praying. They question why a person would be praying and looking up at something if it was not an actual object, and not just the sun.

In contrast, art historians maintain a different perspective on the iconography and symbolic meaning of the circular opening and the figures’ reactions, rather than interpreting it as evidence of a UFO sighting.

 

 

In this Italian Renaissance tempera painting, Madonna Adoring the Christ Child, art historians note that the figure looking up and praying is not just a monk, but rather a representation of John the Baptist, as he is depicted with a cross. He is praying to the Lord, who he sees coming.

While art historians do not fully explain the showering of light upon the Christ child, they do comment that the open circular window in the sky is not a UFO, but rather a depiction of the sun. The striations around the circle gradually go from small to big and then back to small, creating a wavey effect. This wavy, almost hair-like effect, has been seen in depictions of the sun since the medieval period.

Art historians also describe that depicting God as the sun was not uncommon, as during the Renaissance, artists were inspired by ancient civilizations and gods. Sol, or Helios, was the god known for wearing a crown that radiated. The sun with a face was the anthropomorphization of this god. In conclusion, it was not uncommon to place an image of a god in a location where the sun could be.

In contrast to the ufologist interpretation, art historians maintain that the circular opening and the figures’ reactions should be understood within the context of Renaissance religious iconography and symbolism, rather than as evidence of a UFO sighting.

 

 

The circular canvas painting The Madonna with Saint Giovannino, attributed to two other artists before Ghirlandaio, contains some interesting imagery. In the foreground, the viewer is greeted by the Madonna praying over the baby Jesus. Next to the young Christ is Saint Giovannino, who wears a more prominent halo and carries a cross with him. Two bulls are behind the Madonna, gazing in on the scene.

In the background, there is a beautiful Italian countryside with a bending river, a castle, and even a man on a hill. This man is shown looking up at the sky, covering his eyes with his hand in order to take a better look. Above him hovers a greyish blob with gold surrounding the outside of the shape. To the left of the object in the sky is the sun, with three smaller blobs just below it.

Ufologists believe that these objects in the sky are UFOs. They point to the surprised faces of the man looking up at the object and the dog portrayed next to him. Ufologists also refer to the grey object’s circular appearance, which looks like what most people would recognize as a UFO today. They note the shading on the bottom of it, along with the lighter grey color on the top, giving the impression of a rounded top and a dark bottom. Ufologists also think that the Madonna’s protective position hovering over the baby supports their interpretation.

However, art historians have different explanations for the grey object in question. They analyze the painting’s religious iconography and symbolism, rather than interpreting the elements as evidence of UFOs. Their perspective provides an alternative framework for understanding the imagery within the context of Renaissance artistic traditions.

 

Many paintings of the birth of Jesus or even the Annunciations feature celestial events. In the case of the greyish object in The Madonna with Saint Giovannino, some art historians describe it as a painter’s mistake – a blurry angel that was supposed to be scraped off but became a blob of grey instead. They note that the object still has the gilding and the rest of the cloud that was meant to surround an angelic figure. This interpretation is supported by the presence of halos of yellow or gold around angels in many other Renaissance paintings, such as the Adoration of the Child with St. Benedict and Angels by Vincenzo Foppa, where an angel is shown coming out of the clouds.

In the background of the Foppa painting, the viewer can see a shepherd looking up at the angel emerging from the clouds. Similar to the figure in The Madonna with Saint Giovannino, this shepherd also covers his eyes to get a better look at the celestial event. The angel is halfway out of the clouds, with the lower part of his body, from the knees downwards, still obscured by the clouds. There is a beaming light around the angel’s knees, indicated by the gold gilding.

Some art historians believe the greyish blob in The Madonna with Saint Giovannino could alternatively be Ghirlandaio’s interpretation of a brilliant star, pointing to the depiction of the Nativity star on the left-hand side of the painting. Others think the grey object could be a forgotten Christian symbol that the artist incorporated into the work.

Overall, art historians provide various interpretations of the mysterious grey object, rooted in an analysis of Renaissance religious iconography and artistic techniques, rather than a modern ufological perspective.

 

This Italian Renaissance painting, made with egg and oil on canvas, is one of the most contested pieces by ufologists and art historians. In the scene, the Virgin Mary is shown kneeling and praying within an Italian Renaissance house. Descending from a ray of light is a glowing bird.

Outside the house, there are two men – one holding a miniature of a city, and the other wearing wings. Above these two figures is a rippled cloud, from which the ray of golden light emanates, targeting Mary.

Ufologists believe this rippled cloud with a beam is actually a cloaked UFO. They argue the disk-like shape is too strange to be a normal cloud, even though it has a cloud-like texture. Ufologists theorize that Crivelli was confused by what he saw, and instead of depicting a flying metal disc, he painted a cloud with angelic figures on it.

Furthermore, ufologists point to the beam of light coming down from the cloud and penetrating the wall to Mary’s head, which they interpret as resembling an alien abduction scenario.

Art historians, on the other hand, likely have different interpretations of the celestial and supernatural imagery within this Renaissance religious painting, drawing from the iconographic traditions and symbolic language of the time period. The competing perspectives highlight the ongoing debate between ufological and art historical approaches to analyzing this intriguing work.

 

 

Ufologists believe the beam of light connecting the cloud to Mary’s head represents an alien abduction scenario. They propose that, according to their alternative biblical narrative, Jesus was not divinely conceived, but rather the result of genetic engineering. Ufologists claim that Mary was abducted by aliens and artificially inseminated, which they see as the true meaning behind the “immaculate conception.”

Furthermore, ufologists interpret the small white blob above Mary’s head as also being a UFO in the painting.

In contrast, art historians reject most of these ufological interpretations. They explain that the vortex cloud with the beam of light emanating from it was common religious iconography at the time, used to portray God and the heavenly realm. Upon closer inspection, the vortex cloud actually contains small angel figures spinning around, creating the swirling cloud effect.

So we have two vastly different perspectives – the ufological view that sees alien abduction imagery, versus the art historical understanding grounded in traditional religious symbolism and iconography of the Renaissance period. This contrast highlights the ongoing debate between these divergent analytical approaches to interpreting the esoteric visual elements in this complex painting.