Basel: all the "dead islands" of Böcklin 2027 in one exhibition

Basel: All four versions of Arnold Böcklin’s “Toteninseln” will be displayed together in an exhibition for the first time since their creation The Kunstmuseum in Basel has announced that all four known versions of Arnold Böcklin’s iconic painting Toteninsel will be exhibited together for the first time ever in an upcoming show titled Böcklin. Jenseits des Mythos. The exhibition is set to open in September 2027 and will take place in the museum located in Basel, the artist’s birthplace. This marks a historic moment as the works, created over several years, will finally be united after more than a century. According to the museum, this will likely be the last time the paintings will be displayed together, as they have been separated for much of their history. Arnold Böcklin, born in 1827 and died in 1901, was a Swiss symbolist painter whose work often featured eerie, fantastical landscapes and mythical creatures. His most famous piece, Toteninsel, depicts a ghostly figure aboard a boat heading toward a dark island surrounded by cypresses and mysterious ruins. The painting, created in 1880, became one of his most celebrated works and has inspired countless interpretations. It is believed that Böcklin himself never saw all four versions of the painting brought together, despite their shared theme and visual elements. The exhibition will feature not just the original Toteninsel but also three additional variations of the same motif. These were painted later in Böcklin’s career and reflect his continued fascination with the subject. While the first version is widely recognized, the other three have remained scattered among private collections and public institutions around the world. Bringing them together for an exhibition represents a rare opportunity for art historians and visitors alike to study the evolution of Böcklin’s vision. Each of the four paintings presents subtle differences in composition, color, and detail, offering insight into how the artist refined his concept over time. The central image of the ghostly figure on a boat remains consistent across all versions, yet each iteration adds its own unique interpretation of the haunting landscape. The cypresses, ruins, and overall mood of mystery and melancholy are recurring motifs that define Böcklin’s symbolic style. The decision to unite the works stems from the museum’s efforts to provide a comprehensive overview of Böcklin’s oeuvre. Curators emphasize that this exhibition aims to go beyond mere display, offering a deeper exploration of the myths and inspirations behind the artist’s work. The exhibition will include contextual information, historical documents, and comparative analyses to help viewers appreciate the significance of each painting within the broader context of 19th-century European art. While the exact layout and additional features of the exhibition have not yet been disclosed, the museum has confirmed that the event will mark a milestone in the appreciation of Böcklin’s legacy. Art scholars and collectors are eagerly anticipating the opportunity to see these long-separated works side by side, potentially shedding new light on the artist’s creative process and enduring influence.