Who painted Italy takes no chances?

Italy takes no chances was painted by Peter Brookes in 2020.

Where can I see Italy takes no chances?

Italy takes no chances is held by Victoria and Albert Museum.

What movement is Italy takes no chances?

Italy takes no chances is associated with Contemporary Realism.

Italy takes no chances by Peter Brookes (2020)

About this work

This cartoon shows a man in a face mask reaching toward a giant hand holding a vial with a cross on it.

This cartoon shows a man in a face mask reaching toward a giant hand holding a vial with a cross on it. Above the hand are many small figures, some with masks, some without, crowded together. The scene looks like a mix of a famous ceiling painting and a modern health crisis.

The title at the top reads "Italy takes no chances...", hinting at a pandemic response. The artist added a date in the corner: 2020.

Look up the Victoria and Albert Museum to see more of this artwork.

Overview

This 2020 watercolour by Peter Brookes reinterprets Michelangelo’s Sistine Chapel ceiling as a satirical commentary on early pandemic responses. The scene replaces the divine touch with a hand offering hand sanitizer, while figures wear masks and crowd the margins. The work is signed and dated by the artist, with the inscription 'after Michelangelo' acknowledging its visual reference.

The title, 'Italy takes no chances...', underscores the urgency of public health measures during the initial wave of COVID-19.

Subject & Meaning

The cartoon juxtaposes sacred imagery with contemporary medical reality. God’s outstretched hand no longer imparts life but dispenses antiseptic, symbolizing the shift from spiritual to biological survival. Angels and onlookers, some masked, some not, reflect societal uncertainty.

The work critiques both the gravity of the crisis and the absurdity of adapting ancient symbols to modern emergencies, suggesting a collective need for protection over transcendence.

Technique & Style

Executed in watercolour, the piece mimics the luminous palette and compositional structure of Renaissance frescoes while employing cartoonish exaggeration. Figures are simplified, with exaggerated gestures and flattened perspectives to heighten irony. The artist retains Michelangelo’s dynamic poses but subverts their spiritual intent through mundane objects, masks, vials, and crowded spaces, creating a visual tension between grandeur and everyday panic.

History & Provenance

Created on February 26, 2020, during Italy’s strict lockdown, the work was published in a major British newspaper before being acquired by the Victoria and Albert Museum. Its immediate circulation reflected global anxiety over the pandemic’s spread. The museum’s inclusion of the piece situates it within a broader collection of political cartoons documenting public health crises through visual satire.

Context

The cartoon emerged as Italy became the first European nation to impose nationwide restrictions, drawing international attention. Brookes’ reference to Michelangelo taps into a cultural memory of divine intervention, contrasting it with the impersonal, institutional response to disease. The image resonated because it translated abstract fears into a universally recognized visual language, bridging art history and current events.

Legacy

The work stands as a documented artifact of early pandemic culture, illustrating how historical art was repurposed to process collective trauma. Its inclusion in the Victoria and Albert Museum’s collection affirms its role as a historical record. As a satirical piece, it continues to be referenced in discussions about the intersection of public health, media, and visual symbolism during global emergencies.

Artist & collection

Artist

Peter Brookes

Peter D. Brookes, is an English cartoonist who has produced work for numerous publications, including Radio Times, New Society, New Statesman, The Spectator, and, most notably, The Times, for which he has been the…