Sometimes even art lovers can miss the bigger picture. For decades, visitors to the Art Institute of Chicago have admired Gustave Caillebotte's famous painting "Paris Street; Rainy Day" without giving much thought to the artist's broader body of work. This massive canvas depicting pedestrians hurrying along Haussmann Boulevard combines realistic detail with early Impressionist techniques from around 1877, allowing viewers to appreciate both the overall street scene and intimate details like a woman's delicate black veil.
However, a major retrospective exhibition titled "Caillebotte: Painting His World" transforms our understanding of this artist from a one-hit wonder into a significant and complete creative force. The comprehensive show reveals an entirely new artistic world that many visitors never imagined existed. Rather than reviewing the entire exhibition in detail, visitors are strongly encouraged to experience it firsthand and pay careful attention to the informational placards, which provide crucial context for understanding Caillebotte's innovative approach.
One particularly striking example is "Interior, Woman Reading," which challenges 19th-century gender expectations. The painting shows a woman in the foreground as the dominant figure, reading a newspaper - an activity typically considered masculine at the time. Meanwhile, a man lounges on a sofa reading a novel, which was then viewed as a feminine pursuit. This deliberate role reversal demonstrates how Caillebotte playfully subverted social conventions and toyed with viewer expectations.
While the Caillebotte exhibition alone justifies a visit to the Art Institute, another remarkable artwork has appeared that deserves equal attention but hasn't received the publicity it merits. Located in the Asian gallery along 100 feet of the south wall, visitors encounter Raqib Shaw's "Paradise Lost" - a breathtaking work that stops people in their tracks.
Describing Shaw's masterpiece proves nearly impossible. Created by an artist born in Calcutta, raised in Kashmir, and now based in London, this wild allegorical explosion represents a life's journey through visual storytelling that defies conventional description. The Art Institute's official description calls it "an epic and tumultuous journey that represents the very nature and breadth of human existence."
The artwork features raging seas, collapsing palaces, a horse wrestling a zebra, leopards, bears, and placid baboons sitting in a cherry tree - though one baboon is shown strangling a fawn. The entire piece is bejeweled and painted using automobile enamel applied with syringes and porcupine quills, creating an incredibly detailed surface that draws dozens of visitors who constantly move closer and step back to take in different aspects of the work.
According to Madhuvanti Ghose, associate curator of arts of Asia at the Art Institute, photography cannot capture the intricate details that viewers discover in person. "You have to see it," she emphasizes, "because no amount of photography actually captures the kind of details that your eye picks up."
Shaw's reputation in the art world is substantial. As Ghose explains, "When he first made it in the West, he was a shooting star. Everyone heard about him. It's rare for a young artist from India to make it with his first show and be so provocative." The artist has developed a strong following among American art collectors and patrons, and his work was already on the radar of museum directors and curators who follow contemporary art trends. The Art Institute also has trustees who are devoted fans of Shaw's artistic vision.
What makes Shaw's work particularly fascinating is its blend of influences. While many viewers initially notice Western and European references - Shaw draws heavily from medieval Renaissance painting traditions - the work also contains distinctly Indian and Kashmiri elements. The crowned beast king howling at the moon wears Doc Martens boots, exemplifying this cultural fusion. As Ghose notes, Shaw's technique and visual vocabulary were fundamentally shaped by his childhood experiences in India and Kashmir, particularly the detailed ornamentation and ambiance characteristic of Kashmiri art.
"You see it in the detailing. You see it in the adornment. Also a tension in the work," Ghose observes. "The different chapters in the work are like a symphony" - or perhaps more accurately, like an epic poem unfolding across the gallery wall.
Shaw began working on "Paradise Lost" in 2009 and plans to continue adding to it for the rest of his life, potentially extending the work by another 30 feet or so. This ongoing nature makes the current display even more special, as viewers are witnessing a work in progress that represents 16 years of continuous artistic development.
The temporary nature of the exhibition creates a sense of urgency for art lovers. The piece will leave Chicago in January, making this a limited-time opportunity to experience what many consider a contemporary masterpiece. While museums typically cannot simply acquire major works on permanent loan, the extraordinary nature of Shaw's "Paradise Lost" makes its departure particularly regrettable for Chicago's art community.
Both exhibitions demonstrate how art can surprise and educate even experienced museum visitors. The Caillebotte retrospective challenges assumptions about familiar artists, while Shaw's "Paradise Lost" introduces viewers to an entirely new form of contemporary artistic expression. Together, they make a compelling case for approaching art with fresh eyes and an open mind, ready to discover unexpected worlds of creativity and meaning.
Visitors planning to see both exhibitions should allow ample time, as each demands careful attention and rewards close observation. The Shaw installation remains on display until January 5, making this winter an ideal time to experience both of these remarkable artistic achievements at one of America's premier art institutions.
