5 edition of Odilon Redon found in the catalog.

Odilon Redon

prince du rêve, 1840-1916

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Published by Administrator in Réunion des musées nationaux-Grand Palais

  • United States
    • Subjects:
    • Réunion des musées nationaux-Grand Palais

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      • Paris, Grand Palais, Galeries nationales, 23 mars-20 juin 2011; Montpellier, Musée Fabre, 7 juillet-16 octobre 2011.Includes CD-ROM with title: Le livre de raison dOdilon Redon.Includes bibliographical references (p. 446-454) and index.

        StatementRéunion des musées nationaux-Grand Palais
        PublishersRéunion des musées nationaux-Grand Palais
        LC Classifications2011
        The Physical Object
        Paginationxvi, 109 p. :
        Number of Pages60
        ID Numbers
        ISBN 10nodata

        nodata File Size: 4MB.

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The vase is decorated with an image of an Amazon slaying a man, referring to the Greek myth of women warriors whose conflation of feminine and masculine traits echoes the conflation of human and plant forms in the drawing.

The drawing is typical of Redon's noirs, in which he manipulated the charcoal medium in order to achieve a rich array of tones and textures. Seagulls flit through the air and skim the water's surface, while the water stretches out toward the distant horizon. Odilon Redon, Brunnhilde, 1894 Redon drew on varied sources, from Francisco Goya, Edgar Allen Poe, and Shakespeare to Darwinian theory, for his mysterious, disturbing, and often melancholy Noirs lithography, etchings, and drawings.

He first became famous for his noirs series, monochromatic Odilon Redon that exploit the expressive and suggestive powers of Odilon Redon color black.


With large dull eyes, a flattened nose, and wide lips, the head has an expression that is both observant and indifferent. His lithographs, which often reworked earlier drawings, became a means to broaden his audience, as well as to explore in series specific themes or literary texts - he was particularly drawn to the Romantic and Symbolist works of Poe, Flaubert, and.

Odilon Redon worked almost exclusively in black and white during the first half of his career. In 1884 Redon took part in theof which he was one of the founders, and in the in Brussels in 1886, 1887 and 1890 and in the final in 1886. " While Redon's depictions of "monsters" - often hybrid human-plant or human-animal creatures - were the product of his vivid imagination, they also owed a great deal to his knowledge of the natural sciences, and especially new theories of evolution put forth by Charles Darwin, which for the first time established a connection between humans and our animal ancestors.

" He recalled, "I remember taking a deep and unusual joy in hiding under the big curtains and in the dark corners of the house. Odilon Redon the Baptist in the Biblical story of Salome.