“Out of the Woods”: The Marvellous Worlds of Tim Walker
Theatrical and opulent, Tim Walker’s series of photographs entitled “Out of the Woods” reinvents the Getty's Northern Renaissance paintings through a contemporary lens.
The works of the British photographer Tim Walker transcend the boundaries of still images to become narratives of enchantment, metamorphosis, and beauty. Best known for his work in the fashion industry, he has collaborated with publications including Vogue, Vanity Fair, and i-D.
In this video, Walker discusses his process of creating a cycle of photographs inspired by artworks in the Getty Museum collection. The series, entitled “Out of the Woods,” was commissioned by the Museum for the 2023 traveling exhibition Tim Walker: Wonderful Things.
Looking through the Getty collection, Walker selected two Northern European Renaissance paintings that became his sources of inspiration for the project: A Faun and His Family with a Slain Lion (about 1526), by Lucas Cranach the Elder, and The Annunciation (about 1450-55), by Dieric Bouts.
In A Faun and His Family with a Slain Lion, Cranach uses pagan imagery to depict values of harmony with nature. A faun sits on a rock and holds a wooden staff, with a lion dead at his feet. He gazes towards his wife, posed as a tender and idealized family grouping.
A Faun and His Family with a Slain Lion (about 1526) by Lucas Cranach the ElderThe J. Paul Getty Museum
Walker was captivated by Cranach’s painterly technique in this 16th-century work, drawn to the “supremely beautiful” way in which the artist represented textures ranging from the translucency of flesh to the fineness of hair.
In The Annunciation, Bouts illustrates a Biblical scene depicting the moment when the archangel Gabriel delivers the news to Mary that she will conceive and bear the Son of God.
The Annunciation The Annunciation (about 1450–1455) by Dieric BoutsThe J. Paul Getty Museum
Walker interpreted Bouts’ 15th-century Annunciation as epitomizing “the finesse of a depiction of fabric.” The artist masterfully rendered the crumpled folds of cloth and the pleats of crimson drapery, with close attention to creating a realistic depiction.
Here, Walker's team discuss the set design for “Out of the Woods” and how it reinterprets the painterly representation of texture through photography. His creative team printed close-ups from various sections of the paintings and applied them to three-dimensional objects.
For instance, in the idyllic landscape of Walker’s photograph Hugo Fulton and Two White Lilies, the infant from the Cranach painting is placed in the branches of the tree behind the model. The cut-out has been posed so it appears to reach out to the snake that curls in the fruit.
Lewis Walker and Salvia: A Fawn and His Family with a Slain Lion (© 2022 Tim Walker, Gift of Tim Walker Studio) (2022) by Tim WalkerThe J. Paul Getty Museum
This cut-out reappears in Lewis Walker and Salvia, A Faun and His Family with a Slain Lion.
In recreating Cranach’s painting with references to the story of the Garden of Eden, Walker shows affinities between pagan and religious narratives, as well as varying artistic practices.
An indirect reference to Walker’s sources of inspiration appears in the photograph Amphibian, Lewis Walker and Salvia with Blue Satin. Referencing the composition and style of Bouts’ Annunciation, Walker explores the visual qualities of the fabric held by his models.
The dark fabric tied around the bodies of the leftmost and central models appears heavy and knotted, blending into the background of the set.
The cerulean fabric held by the model on the right is luxurious and shining, matching the blue paint on her hands. It tumbles forward into the space of the viewer, connecting the worlds inside and outside the photograph.
Other works in the series reference Northern Renaissance paintings beyond the Getty collection. Zuzanna Bartoszek, Cupid Complaining to Venus restages the painting of the same name by Lucas Cranach the Elder, found in the National Gallery in Walker’s hometown of London.
Zuzanna Bartoszek: Cupid Complaining to Venus (© 2022 Tim Walker, Gift of Tim Walker Studio) (2022) by Tim WalkerThe J. Paul Getty Museum
Walker’s version of Venus recreates the fantastical headdress worn by the goddess in Cranach’s painting. Although her nude body is on display, her direct and sultry gaze confronts the viewer, challenging the voyeurism which the photograph seems to encourage.
Walker’s photographs often present a tension between the consumerism of popular culture and the traditional ideals of so-called “high” or “fine art.”
He has drawn from a variety of sources including Renaissance paintings, Mughal illuminated manuscripts, 19th-century children’s books, and twisted bodies painted by Francis Bacon.
The collaborative process of creating these photographs, their elaborate staging, and highly aestheticized imagery reflect an aspiration to simultaneously reinterpret art history as well as become a part of it.
Having built his career in the fashion industry, Walker’s commission-driven creative process reflects the centrality of patronage to the livelihoods of Renaissance artists. His beautiful, escapist fantasies are highly regarded by the publications and labels he works with.
Gigi Hari and Key (© 2022 Tim Walker, Gift of Tim Walker Studio) (2022) by Tim WalkerThe J. Paul Getty Museum
The act of looking at Walker’s photographs, however, is never entirely straightforward. For instance, in a work such as Gigi Hari and Key, the model stares intently at the viewer while reaching through a portal towards a key that lies atop the green background.
Through its staging, the overall impression of the photograph is powerful and disorienting. By looking directly into the camera and reaching out with a bright red glove, the model dramatically breaks the boundary between the subject and viewer.
Furthermore, Walker’s definitions of beauty stray from the conventional while still conveying a sense of timelessness. This is particularly evident when contextualized by the sometimes unsettling ideals of beauty found within his historical sources of inspiration.
His images for “Out of the Woods” are populated by pale, often androgynous figures who contort their bodies into twisted shapes. In Lewis Walker Arched on Blood Red Satin, the body becomes distorted and inhuman, echoed by the two whippet dogs flanking the model.
With images that are vivid, dream-like, and often unsettling, Walker tells new stories through old paintings. “Out of the Woods” is at once a testament to the enduring influence of historical artworks on modern-day artists and a radical reinvention of their conventions.
© 2026 The J. Paul Getty Trust, Los Angeles
This Google Arts & Culture story was created by Getty Graduate Interns Nicole Entin (curation) and Francesca Weir (production).
For more resources:
. Tim Walker: Wonderful Things (2023), exhibitions page
. The Making of "Out of the Woods", video
. Fashion Forward: The Fantastical Visions of Tim Walker, talk with Tim Walker, Susanna Brown and Sarah Moonves
To cite this exhibition, please use: "'Out of the Woods': The Marvellous Worlds of Tim Walker" published online in 2026 via Google Arts & Culture, the J. Paul Getty Museum, Los Angeles.
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