Among Louis Grell’s most celebrated paintings, Destiny has been regarded by some as his magnum opus. Completed in 1928, the monumental oil painting measures more than eight feet in height and represents an extraordinary example of Grell’s imaginative and allegorical art.
In 1930, Destiny received the prestigious Harry Frank Prize at the Art Institute of Chicago’s annual Artists of Chicago and Vicinity exhibition. The painting was also exhibited at the Chicago Galleries Association that year. Its importance was recognized in the Chicago press, where it was reproduced, and decades later when it appeared in full color in Chicago Modern, 1893–1945: Pursuit of the New (2004).
The surviving preparatory studies provide a fascinating glimpse into Grell’s creative process. One principal study suggests that Grell may also have contributed to the design of the 1930 exhibition installation, where a large rendition of Destiny appeared above the entrance to the exhibition hall at the Art Institute of Chicago. Another study documents a proposed museum installation.
A separate watercolor study reveals Grell’s careful consideration of color, particularly the cloak worn by the central flying figure. Even this single element received close attention before the final composition was completed.
Nearly Half a Century at Tree Studios
From its creation in 1928 until approximately 1970, Destiny remained in Grell’s studio at Chicago’s historic Tree Studios. The painting continued to hang there after the artist’s death in 1960, until his widow, Friedl Grell, moved from the studio.
The painting was subsequently acquired by Jim Romano and later passed to its present owner. Remarkably, Destiny remains in a private Chicago collection on the city’s Near North Side, not far from where Grell created it nearly a century ago.
Beyond the Canvas
The imagery of Destiny extended beyond Grell’s studio. A version of the composition was incorporated into his decorative work for the Paramount Theatre in Fort Wayne, Indiana, demonstrating how Grell adapted his allegorical subjects for monumental architectural settings.
Other versions are believed to have been created for additional locations, although their full histories remain to be established. One longstanding account even places a version of Destiny in a courthouse.
These connections are particularly significant when considering Grell’s career as both a painter and a designer of elaborate theatrical interiors during the 1920s.
The Mystery Within Destiny
Look closely at the background of the painting. Grell concealed two mysterious faces representing good and evil within the composition.
One is easier to recognize than the other.
Can you find both?
Grell also left a remarkable written explanation of Destiny, offering insight into the symbolism and meaning behind this ambitious work. His own words provide an important companion to the painting and its surviving preparatory studies.
Grell’s Magnum Opus?
Some admirers consider Destiny the greatest individual painting of Louis Grell’s career. Its monumental scale, allegorical complexity, exhibition recognition, and enduring presence in Chicago make a compelling case.
Yet Grell’s extraordinary theatrical commissions of the 1920s may represent his greatest overall artistic achievement. His work in those buildings brought together painting, architecture, mythology, and decorative design on a scale few individual canvases could approach.
Destiny stands at the intersection of those two worlds: a major easel painting whose imagery also found expression in Grell’s architectural art.
Artwork Details
Artist: Louis Grell (1887–1960)
Title: Destiny
Date: 1928
Medium: Oil on canvas
Dimensions: 102 × 64 inches
Signature: Signed “LOUIS GRELL 1928”
Award: Harry Frank Prize, Art Institute of Chicago, 1930
Collection: Private collection, Chicago
