Welcome to One Advantageous Present, the place Observer highlights a just lately opened exhibition at a museum not in New York Metropolis, a spot we all know and love that already receives loads of consideration.
I used to be within the room at Sotheby’s in 2012 when a model of Edvard Munch’s The Scream (1893) offered for $119.9 million, together with the customer’s premium. This was probably the most anybody had paid for a piece at public sale on the time and what I bear in mind probably the most is the hullabaloo: all my fellow writers leaving the press corral to telephone in a narrative like we had been radio reporters, yelling to our editors over wild applause. Looking back it’s this clapping that dominates the reminiscence. Who was its meant recipient? The client Leon Black? The enormous pile of cash itself? They couldn’t be celebrating the work, as a result of it hadn’t carried out something however sit on a rotating wall, in quiet pastel.
The Scream was an odd alternative for the costliest paintings on the planet as a result of it’s so bizarre and delicate. A model of it seems in “Unusual Realities: The Symbolist Creativeness,” a brand new present on the Artwork Institute of Chicago that surveys the mysterious motion of the late nineteenth Century often known as Symbolism throughout greater than 80 works on paper from the museum’s prints and drawings assortment.
Symbolism swept the colder elements of Europe and will be thought of a response to Impressionism’s fascination with the seen world. Symbolists explored the psychological and improbable throughout visuals and literature like Joris-Karl Huysmans’s À Rebours (1884) wherein the protagonist orders a stay tortoise to be encrusted with jewels so that it’s going to higher harmonize along with his Oriental carpet. It dies.
The works on paper on the Artwork Institute are solely rather less fabulous than this. The Scream solely seems as a black and white lithograph, however fairly just like it, in coloration, is Gustaf Fjæstad’s Moonlight, Örebro (1897). On this, a girl appears to be like out on a lake below moonlight, leaning in opposition to a sequence because the ripples undulate in her path. The swirls really feel like an alien presence and throughout the best way a home appears to observe with two blazing lanterns.
Odilon Redon provides a bunch of works, two of them wild. Sita (c. 1893) is drawn from the Hindu epic Ramayana and sees the protagonist surrounded by “a golden-green radiance… stardust falling, a bathe of gold” to make use of the artist’s personal phrases. She seems to glow in an amulet, faraway from the world, pertaining to the motion’s curiosity in delusion and magic. Flower Clouds (c. 1903) exhibits an evolution in massive format as two sailors watch an otherworldly sundown that does appear to bloom with emotion.
Distinction that with the inward vitality of Franz von Caught’s Lucifer (c. 1890) a monochrome etching on chine collé. The fallen angel’s wings are at a considerate angle as he broods with slitted eyes on the viewer. I’m struck by how sensible the feathers are, bunched below his seat. It captures his discomfort and indignity, although every part else in regards to the picture reminds us that his energy remains to be intact. He’s the unique problematic fave.
“Unusual Realities: The Symbolist Creativeness” is on the Artwork Institute of Chicago by way of January 5, 2026.
Extra exhibition opinions
