Artwork

Homes and hotels are going to have artwork, so their existence isn’t that special— but it’s what’s chosen for the artwork and the context of when you see it that helps understand why we should think about it.

There’s an abundance of flood imagery, referencing the eventual blood flowing from The Elevator.

Birds and dogs, signifying predator and prey.

Native American children, relating to the Grady girls, Danny, and those in the way of greedy and violent men.

A Paul Peel “After the bath” is in The Overlook Living Space, referencing No.48

We’ve also got a series of a specific artist’s work that’s shown in both The Boulder Apartment and multiple places within The Overlook.

Having one artist across both spaces continues the concept that The Overlook and the Boulder Apartment are “the same space” for The Torrances.

Woman with Terrier sits behind the Torrance’s tv as Wendy talks with Jack, continuing Wendy’s dog connection.

his Horse & Train is seen when the Dr/Social Worker and Wendy walk to the bedroom to discuss Danny.

his Dog, Boy, and St. John River is seen peeking out of Room 237 as Danny enters.

Moon & Cow is seen before Wendy comes up on the bear & man in tuxedo.

Additionally, another artist’s work is used twice, Norval Morrisseau, another Canadian artist, has The Great Earth Mother, positioned across a series of Westernized photographs outside of Ullman’s office. This continues the visual tension of indigenous and westernized cultures shown across the whole hotel.

His “Flock of Loons” is seen as Watson enters into Ullman’s office as well as on the wall of The Exit Hallway. This is seen when Wendy runs out to see Jack’s actions with the snow cat and as Jack looks to kill Danny.

Having both of these artists be Canadian is worth thinking about, because while the imagery across the film references The United States, “America” constitutes Canada — which absolutely engaged in its own atrocities with assimilation and Indigenous peoples-–– and Mexico.