In the painting above, there's a spider with ten legs as opposed to its usual eight, who dances sideways while grinning mischievously. They include smiling spiders, cyclopes, grotesque animals, and plants with human heads. The creatures of Odilon Redon's noirs, or "black things," as Redon himself affectionately refers to his charcoal drawings and lithographs, are equally terrifying and fascinating. Also, let us remind you that the order of the list is entirely up to you, so make sure to upvote those scary paintings you would like to see higher on the list!Īrtist: Odilon Redon | Year (completed): 1887 | Periods: Symbolism
While the scary art of the time might not make you jump out of your skin, this collection of scary paintings is sure to thrill both art enthusiasts and fans of the horror genre.
And indeed, this rather scary artwork depicting a panic-stricken creature resulted from Munch's emotional turmoil as he grappled with trauma and mental illness during his lifetime.īelow, we've compiled a list of dark paintings and creepy art that illuminate the darkness of society and human nature. Likely the first image that pops into one's mind thinking of a scary painting is The Scream (1893) by Edvard Munch, one of the best-known examples of Expressionist art. Although biblical scenes were still a common painting subject during the period, artists could explore other themes such as mythology, history, portraiture, and practice realism.įollowing the 'rebirth' of art, the notion that artworks convey the feelings of the artist first surfaced with Romanticism and then continued with Expressionism, both related through the interest in themes of darkness, fear, and melancholy. Renaissance painters were finally liberated from strict Christian doctrine, which dominated people's lives and subjects portrayed in art.
While plenty of drawings and paintings from medieval times could be deemed frightening or disturbing, the most well-known examples of scary artworks depicting ominous, macabre themes were made during the Renaissance.
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