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Haunting Dreams and Sinister Echoes

POSTED BY , ON October 22, 2013, Comments Off

Opening just in time for everyone’s favorite spooky holiday, Dreams and Echoes: Drawings and Sculpture from the David and Celia Hilliard Collection features 115 drawings, prints, and sculptures spanning five centuries. Extraordinarily generous with strong ties to the Art Institute over the years, the Hilliards have already given or promised 61 of the works on display, which bolster areas of weakness in the Art Institute’s collection and develop areas of strength. The exhibition’s title, Dreams and Echoes, refers to the thematic threads that weave through the collection, from the broad selection of French and British landscape drawings, to important groups by Edgar Degas, Jean-François Millet, and Odilon Redon, and a stunning array of fantastical, psychological, and macabre works from nineteenth-century Symbolist artists.

A Foregaterhing of Witches

The array of charming landscape drawings that make up the beginning of the exhibition takes a turn for the sinister, dark, and stormy in George Romney’s A Foregathering of Witches, a Scene from “Macbeth” (above). Two figures whirl around a bonfire, casting their dark magics. The drawing illustrates a moment in Act 4, scene 1 of Macbeth, where the witches rattle off their revolting recipe. Romney’s swirling brush strokes throughout the drawing evoke the frenzy of the witchcraft and invokes the fear of the unknown.

1 WITCH.  Round about the caldron go;
In the poison’d entrails throw.—

Macbeth, Act 4 Scene 1

The eldritch and eerie theme continues into the spectacular works of Odilon Redon, James Ensor, and Jan Toorop. European Symbolist artists were fascinated with sex and sexuality, life and death, spirituality and myth. Their works are populated by figures ranging from delicate, virginal women to femme fatales, masked beings, and skeletal harbingers of death—in other words, zombies.

The Servants of Death

The two figures in the opening work by William Degouve de Nuncques, The Servants of Death would not be especially out of place in any of today’s zombie movies, despite being put to paper in 1894. These shambling servants are busy sawing planks over a grave-like hole in the ground, the purpose of which is unknown—but with a title like The Servants of Death and complexions like theirs it can’t bode well for anyone. The dying embers of the fire and the blood red of the setting sun add to the sense of a turn-of-the-century Belgian horror movie about to happen.

Mask of Death

Rounding out the collection’s spectral, skeletal elements is a group of masks from Symbolist sculptors, the most recently acquired of which is the skull-like Mask of Death. Presiding over a case of masks with a grin, the Mask of Death by Jules Desbois, seems to shift from benevolent to malignant with a step to either direction. The sunken, decaying features and moldering colors of the ceramic glazes stir up the sensation that this is a head that until recently resided somewhere below ground—possibly excavated from the zombies’ hole. Unlike the crowned skull of the nearby bronze sculpture Nothing!! (Rien!!) by Jean-Baptiste Clésinger, the Mask of Death still appears to have skin and flesh, though it’s not necessarily an improvement.

Dreams and Echoes opened to the public last weekend and runs until February 16. The accompanying catalogue is available in the Museum Shop, so you can gaze upon the Mask of Death or call up your own Foregathering of Witches, whenever you like.

—Melissa L. Gustin, Research Associate

Image Credits:

George Romney, A Foregathering of Witches, a Scene from “Macbeth,” early 1790s. Brush and brown and gray wash, over black chalk, on off-white laid paper, laid down on blue wove appear with an added border of ivory laid paper around the drawing; 381 x 538 mm. The Art Institute of Chicago, promised gift of Celia and David Hilliard, 2013.

William Degouve de Nuncques, The Servants of Death, c. 1894. Pastel on gray wove paper prepared with a greenish-gray ground, perimeter mounted to canvas, wrapped around a strainer; 930 x 730 mm. David and Celia Hilliard Collection.

Jules Desbois, Mask of Death, 1904. Enameled stoneware; 300 x 220 mm. David and Celia Hilliard Collection.

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