He fixed his eyes on me with an expression that was so strange 1896

Curator: Odilon Redon created this striking drawing, "He fixed his eyes on me with an expression that was so strange," in 1896, employing ink to conjure a fascinating scene. Editor: Immediately, I feel a palpable sense of unease emanating from this piece. It's almost disturbing how the hound is presented, looming with an unnerving intensity that feels quite modern. Curator: The Symbolist movement, to which Redon belonged, often sought to tap into hidden psychological landscapes. Notice how the looming quality is accentuated not just by the animal itself, but also the hatching that renders form from an obscure background. It could easily be interpreted as psychological shading, rendering a sensation of both menace and perhaps also protection? Editor: I can appreciate that interpretation. For me, though, the drawing evokes a broader anxiety of class and societal expectation, given the prominent figure of a hunting dog in an era defined by rigid hierarchies and codes. The creature's intense stare can symbolize social judgement or the artist's apprehension of the establishment. Its expression feels strangely human, almost accusatory. Curator: That’s an interesting read. In terms of visual symbols, consider the hound itself. Dogs often serve as emblems of loyalty and obedience, but Redon destabilizes this easy association by depicting an almost predatory stare. I find the formal features compelling too. Editor: I see Redon using a visual language common in political caricatures to lampoon figures of power; for instance, this kind of severe expressiveness, combined with unflattering anatomy, would signal some commentary on dominant, controlling archetypes within society at the time. Curator: The effect, ultimately, feels deeply personal. The text below the artwork, which mirrors its title, indicates a direct relationship. As the subject of that intense gaze, we ourselves may begin to experience something uncanny and unsettling. It's not merely representational—it aims for an immersive, affective experience. Editor: Yes, precisely. And within that space of personal connection, social realities like class anxieties and challenges to existing systems also emerge, lending multiple readings. Thanks to Redon’s evocative command, there is still more to ponder here.