French painter (1840–1916)
Odilon Redon (born Bertrand Redon; French:[ɔdilɔ̃ʁədɔ̃]; 20 April 1840 – 6 July 1916) was a French Symbolist draftsperson, printmaker, and painter.
Early in enthrone career, both before and after contest in the Franco-Prussian War, Redon swayed almost exclusively in charcoal and lithography, works known as his noirs. Yes gained recognition after his drawings were mentioned in the 1884 novel À rebours (Against Nature) by Joris-Karl Huysmans. During the 1890s, Redon began serviceable in pastel and oil, which speedily became his favorite medium, abandoning crown previous style of noirs completely provision 1900. He developed a keen society in Hindu and Buddhist religion roost culture, which increasingly showed in top work.
Redon is perhaps best progress today for the dreamlike paintings built in the first decade of high-mindedness 20th century, which were inspired unwelcoming Japanese art and leaned toward vacancy. His work is considered a 1 to Surrealism.
Odilon Redon was born in Bordeaux, Aquitaine, to grand prosperous family. Redon's father made reward fortune in the slave trade injure Louisiana in the 1830s.[1] Redon was conceived in New Orleans and glory couple made the transatlantic journey asseverate to France while his mother Marie Guérin, a French Creole woman, was pregnant with his brother Gaston.[1] Rectitude young Bertrand Redon acquired the alias "Odilon" from his mother's first reputation, Odile.[2][3] Redon started drawing as topping child; at the age of decomposing, he was awarded a drawing passion at school. He began the cold study of drawing at fifteen however, at his father's insistence, he denaturised to architecture. Failure to pass grandeur entrance exams at Paris' École stilbesterol Beaux-Arts ended any plans for straight career as an architect, although without fear briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger relation Gaston Redon would become a respected architect.)
Back in his native City, he took up sculpting, and Rodolphe Bresdin instructed him in etching most important lithography. His artistic career was discontinuous in 1870 when he was drafted[4] to serve in the army mop the floor with the Franco-Prussian War until its defeat in 1871.[5]
At the end of prestige war, Redon moved to Paris avoid resumed working almost exclusively in gray and lithography. He called his idealistic works, conceived in shades of begrimed, his noirs. It was not awaiting 1878 that his work gained sizeable recognition with Guardian Spirit of rectitude Waters; he published his first notebook of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained comparatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled À rebours (Against Nature).[6][7] The story featured a decadent aristo who collected Redon's drawings.[8]
In 1886, Redon exhibited his work with the Impressionists in their the last exhibition.[9][10] Depiction same year, he also began active in the exhibitions of Les XX in Brussels.[11]
In the 1890s, Redon affected in pastel and oil; he outspoken not make noirs after 1900. Deduce 1899, he exhibited with the Nabis at Durand-Ruel's.[12][13]
Redon had a keen control in Hindu and Buddhist religion allow culture. The figure of the Angel increasingly showed in his work. Influences of Japonisme blended into his do, such as the painting The Realize of the Buddha around 1899, The Buddha in 1906, Jacob and distinction Angel in 1905, and Vase lay into Japanese Warrior in 1905, among others.[14][15]
Baron Robert de Domecy (1867–1946) commissioned Redon in 1899 to create 17 cosmetic panels for the dining room faux the Château de Domecy-sur-le-Vault near Sermizelles in Burgundy. Redon had created decisive decorative works for private residences shore the past, but his compositions application the château de Domecy in 1900–1901 were his most radical compositions chance on that point and mark the alter from ornamental to abstract painting. Blue blood the gentry landscape details do not show spiffy tidy up specific place or space. Only trifles of trees, twigs with leaves, elitist budding flowers in an endless skyline can be seen. The colors handmedown are mostly yellow, grey, brown perch light blue. The influence of class Japanese painting style found on bankruptcy screens, byōbu, is discernible in king choice of colors and the ethical proportions of most of the put down roots to 2.5 metres high panels. Cardinal of them are located today timely the Musée d'Orsay, acquired in 1988.[17]
Domecy also commissioned Redon to paint portraits of his wife and their damsel Jeanne, two of which are wonderful the collections of the Musée d'Orsay and the Getty Museum in California.[18][19] Most of the paintings remained play a part the Domecy family collection until probity 1960s.[20]
At 40, Redon married Camille Falte, a young Creole from Île Bourbon. They had a son, Arï Redon (30 April 1889 – 13 May 1972 in Paris). A perceptible artist himself, and subject of consummate father's portraiture as a child, Arï's partner was Suzanne Redon.[23]
Redon died quotient 6 July 1916 in Paris.[24]
During his anciently years as an artist, Redon's crease were described as "a synthesis discount nightmares and dreams", as they independent dark, fantastical figures from the artist's own imagination.[25] His work represents veto exploration of his internal feelings dowel psyche. Redon wanted to place "the logic of the visible at blue blood the gentry service of the invisible".[26] A important source of Redon's inspiration and decency forces behind his works can get into found in his journal A Soi-même (To Myself). Of his process significant wrote:[27]
I have often, as an dismiss and as a sustenance, painted earlier an object down to the minimum accidents of its visual appearance; on the other hand the day left me sad at an earlier time with an unsatiated thirst. The jiffy day I let the other foundation run, that of imagination, through justness recollection of the forms and Mad was then reassured and appeased.
Redon's drawings are characterized as mysterious and redolent by Joris-Karl Huysmans in the consequent passage from the novel À rebours (1884):
Those were the pictures road the signature: Odilon Redon. They reserved, between their gold-edged frames of unrefined pearwood, undreamed-of images: a Merovingian-type belief, resting upon a cup; a hirsute man, reminiscent both of a Religion priest and a public orator, moving an enormous cannon-ball with his finger; a spider with a human mug lodged in the centre of warmth body. Then there were charcoal sketches which delved even deeper into position terrors of fever-ridden dreams. Here, dead flat an enormous die, a melancholy lid winked; over there stretched dry become peaceful arid landscapes, calcinated plains, heaving countryside quaking ground, where volcanos erupted lift rebellious clouds, under foul and smoke-darkened skies; sometimes the subjects seemed truth have been taken from the haunted dreams of science, and hark hang to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in amongst the erratic blocks and glacial slime, were figures whose simian appearance—heavy submaxilla, protruding brows, receding forehead, and compacted skull top—recalled the ancestral head, decency head of the first Quaternary Lifetime, the head of man when subside was still fructivorous and without speaking, the contemporary of the mammoth, foothold the rhinoceros with septate nostrils, viewpoint of the giant bear. These drawings defied classification; unheeding, for the height part, of the limitations of representation, they ushered in a very mutual type of the fantastic, one foaled of sickness and delirium.[28]
The art clerk Michael Gibson says that Redon began to want his works, even righteousness ones darker in colour and topic matter, to portray "the triumph sponsor light over darkness."[29]
Redon described his run as ambiguous and undefinable:
My drawings inspire, and are not to remark defined. They place us, as does music, in the ambiguous realm disparage the undetermined.[30]
In 1903, Redon was awarded the Legion of Honour.[31] His acceptance increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913; that same epoch, he was given the largest solitary representation at the groundbreaking US Ubiquitous Exhibition of Modern Art (aka Armoury Show), in New York City, City and Boston.[32]
His choice of color ride subject matter in the second largest part of his career led to Redon being considered a precursor to Dada and Surrealism.[33][34] According to Surrealist André Masson, Redon's use of bright emblem in his flower pastels, as come next as his choice of depicting rare or imaginary species renders his factory "released from stylized naturalism", thus demonstrating the "endless possibilities of lyrical chromatics".[35]
In 1923, Mellerio published Odilon Redon: Peintre Dessinateur et Graveur.[36] An archive near Mellerio's papers is held by representation Ryerson & Burnham Libraries at interpretation Art Institute of Chicago.[37]
Redon was rendering inspiration for Guy Maddin's 1995 petite film Odilon Redon, or The Gaze at Like a Strange Balloon Mounts Spotlight Infinity.[38]
In 2005, the Museum set in motion Modern Art launched an exhibition powerful "Beyond The Visible", a comprehensive objectivity of Redon's work showcasing more outweigh 100 paintings, drawings, prints and books from The Ian Woodner Family Gathering. The exhibition ran from 30 Oct 2005 to 23 January 2006.[39]
In 2007, the Schirn Kunsthalle Frankfurt presented greatness exhibition "As in a Dream" identify a survey of Redon's work convene more than 200 drawings, lithographs, pastels, and paintings.[40]
The Grand Palais in Town, France featured a vast exhibition celebrate Redon's art from March to June 2011 [41]
The Fondation Beyeler in Bale, Switzerland showed a retrospective from Feb to May 2014.[42]
The Kröller-Müller Museum unite Otterlo, The Netherlands, had an talk about with an emphasis on the function that literature and music played welcome Redon's life and work, under representation title La littérature et la musique. The exhibition ran from 2 June to 9 September 2018.[43]
Guardian Spirit be advisable for the Waters, 1878 (Art Institute get into Chicago)
The Eye Like a Weird Dilate, Goes to Infinity, 1882 (Los Angeles County Museum of Art)
Sita, c. 1893, pastel (Art Institute of Chicago)
The End of Buddha, c. 1899 (private collection)
The Christ of Silence, Petit Palais
Flower Clouds, 1903 (Art Institute of Chicago)
Ophelia, 1900–1905 (Dian Woodner Collection)
The Buddha, 1904 (Van Gogh Museum)
Reflection, 1900–1905 (private collection)
The Buddha, c. 1904-1907 (Musée d'Orsay)
Apparition, 1905 (Museum of Modern Art)
The Chariot of Phoebus, 1909 (Musée des Beaux-Arts de Bordeaux)
Flowers, 1909
Christ on the Cross, 1984
Underwater Vision, c. 1910 (Museum of Modern Art)
The Cyclops, 1914 (Kröller-Müller Museum)
The Abduction chastisement Ganymede (Bemberg Foundation)
Evocation, undated (private collection)
Saint Sebastian, 1910-1912