Beyond The Visible: The Art Of Odilon Redon

By Jodi Hauptman

Stuck among description and dream, the felt and the imagined, French artist Odilon Redon, whose occupation bridged the 19th and 20th centuries, reworked the flora and fauna into nightmarish visions and peculiar fantasies. heavily allied with the Symbolist flow, Redon provided his personal interpretations of literary, biblical and mythological matters; created a universe of odd hybrid creatures; and offered panorama in a unique approach: we see grinning disembodied tooth, smiling spiders, melancholic floating faces, winged chariots, unusual vegetation, and velvety black or coloured swirls of surroundings. With a up to date present from the Ian Woodner relations, The Museum of contemporary paintings is now the positioning of the main major physique of the artist's paintings outdoors France, and this publication will exhibit the entire variety of Redon's diverse oeuvre--charcoal "noirs," luminous pastels, richly textured canvases, literary collaborations and experiments in printmaking--and will light up the carry his specific form of Modernism has had on either twentieth-century and modern artists.

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190–93. five Emile Hennequin, “Beaux Arts: Odilon Redon,” l. a. Revue littéraire et artistique (March four, 1886): 137. 6 Odilon Redon, “On Rubens and Rembrandt” (1879), in paintings in idea, 1815–1900: An Anthology of fixing rules, ed. Charles Harrison and Paul wooden with Jason Gaiger (Oxford: Blackwell Publishers, 1998), p. 851. 7 Redon, To Myself, p. sixty two. eight Ibid. nine Ibid. , p. sixty four. 10 Ibid. , p. sixty six. eleven Ibid. , p. sixty five. 12 in response to Roseline Bacou, Redon owned a replica of Fromentin’s booklet. See Bacou, “La Bibliothèque d’Odilon Redon,” in Festschrift to Erik Fischer, ed. Villads Villadsen et al. (Copenhagen: Royal Museum of good Arts, 1990), p. 30. thirteen Eugène Fromentin, The Masters of previous Time or feedback at the previous Flemish and Dutch Painters (1875; London: J. M. Dent and Sons, 1913), pp. 304–05. in keeping with Fromentin, via Rembrandt’s “somnambulist’s instinct, he observed extra into the supernatural than someone else. ” See p. 305. 14 For an intensive dialogue of Redon’s curiosity in Rembrandt and different previous Masters, together with Leonardo and Dürer, see Edward Kevin Gott, “Odilon Redon and Les Maîtres d’autrefois” (Ph. D. diss. , collage of Melbourne, 1986). 15 Richard Hobbs, Odilon Redon (Boston: long island image Society, 1977), p. eleven. sixteen Of Clavaud, Redon wrote, “By nature as a lot pupil as artist (which is rare), continuously humbled via the revelations of the microscope, constantly at his herbarium that he visited, cared for, and labeled unceasingly. . . . whilst the 1st books of Flaubert have been released, he already pointed them out to me with clearsightedness. He made me learn Edgar Poe and Baudelaire, ‘Les Fleurs du Mal,’ on the very hour in their publishing. ” See Redon, “Confessions of an Artist,” p. 15. For extra on Clavaud, see Stephen F. 50 H AUPTMAN OverviewH Eisenman, The Temptation of Saint Redon: Biography, Ideology, and magnificence within the Noirs of Odilon Redon (Chicago: The collage of Chicago Press, 1992), pp. 171–72; and Barbara Larson, “Evolution and Degeneration within the Early paintings of Odilon Redon,” NineteenthCentury paintings all over the world 2, no. 2 (Spring 2003), www. 19thc-artworldwide. org/spring_03/articles/lars. html. 17 Recalled via Redon in To Myself, p. 109. mentioned in Douglas W. Druick and Peter Kort Zegers, “Under a Cloud, 1840–1870,” in Druick, Odilon Redon: Prince of goals, 1840–1916 (Chicago: The artwork Institute of Chicago in organization with Harry N. Abrams, 1994), p. 50. 18 Redon quoted in Hobbs, Odilon Redon, p. eight. initially released in “Salon de 1868,” los angeles Gironde, may well 19, 1868. 19 Horace quoted in Frances S. Connelly, “Profound Play: the picture culture of the comedian Grotesque,” in comedian ugly: Wit And Mockery in German paintings, 1870–1949 (New York: Neue Galerie; Berlin: Prestel Verlag, 2004), p. 195. From Horace, “Ars Poetica,” within the whole Works of Horace, ed. C. J. Kraemer Jr. (New York: sleek Library, 1936). 20 mentioned in Gregor Wedekind, “The truth of the ugly: Paul Klee, Hugo Ball, and Carl Einstein,” in comedian gruesome: Wit and Mockery in German artwork, 1870–1949 (New York: Neue Galerie; Berlin: Prestel Verlag, 2004), p.

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