COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1958.46
amicoid
CMA_.1958.46
AMICA ID
false
AMICA Library Year:
2001
aly
2001
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Redon, Odilon
crn
Redon, Odilon
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1840 - 1916
cdt
1840 - 1916
Creator Dates/Places
false
Biography:
A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with Gérôme (q.v.) in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix (q.v.), the prints of Francisco José de Goya (1746-1828), and the poetry of Charles Baudelaire.In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first Noirs. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered "the messenger of the unconscious." After producing his initial Noirs in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s.During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, Dans le rêve, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel ? rebours (1884). Around the same time, Redon developed a personal and artistic relationship with poet Stéphane Mallarmé. Increasingly drawn into the public arena, Redon helped organize the Société des Artistes Indépendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin (q.v.) and Vuillard (q.v.). Maurice Denis praised Redon as "our Mallarmé," and in 1892 critic Albert Aurier described Redon as a leader of the new "idealistic" tendency in art.After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.
crb
A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with Gérôme (q.v.) in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix (q.v.), the prints of Francisco José de Goya (1746-1828), and the poetry of Charles Baudelaire.In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first Noirs. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered "the messenger of the unconscious." After producing his initial Noirs in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s.During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, Dans le rêve, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel ? rebours (1884). Around the same time, Redon developed a personal and artistic relationship with poet Stéphane Mallarmé. Increasingly drawn into the public arena, Redon helped organize the Société des Artistes Indépendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin (q.v.) and Vuillard (q.v.). Maurice Denis praised Redon as "our Mallarmé," and in 1892 critic Albert Aurier described Redon as a leader of the new "idealistic" tendency in art.After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Bordeaux, 20 April 1840
cbp
Bordeaux, 20 April 1840
Creator Birth Place
false
Creator Death Place:
Paris, 6 July 1916
cdp
Paris, 6 July 1916
Creator Death Place
false
Creator Name-CRT:
Odilon Redon
crt
Odilon Redon
Creator Name-CRT
false
Title:
Vase of Flowers
otn
Vase of Flowers
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1916
oct
1916
Creation Date
false
Creation Start Date:
1916
ocs
1916
Creation Start Date
false
Creation End Date:
1916
oce
1916
Creation End Date
false
Materials and Techniques:
pastel
omd
pastel
Materials and Techniques
false
Classification Term:
Drawing
clt
Drawing
Classification Term
false
Dimensions:
Sheet: 84.1cm x 5.8cm
met
Sheet: 84.1cm x 5.8cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1958.46
ooa
1958.46
ID Number
false
Credit Line:
Bequest of Leonard C. Hanna, Jr.
ooc
Bequest of Leonard C. Hanna, Jr.
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
R. Kahn; Jacques Seligmann & Co., NY
opo
R. Kahn; Jacques Seligmann & Co., NY
Provenance
false
Context:
After 1900, Redon devoted increasing attention to floral subjects. This related not only to the artist's poor financial situation and a great market demand for such works, but also to his sincere fascination with flowers. For Redon and other Symbolist artists and poets, flowers, and especially poppies (because of their association with opium) became a subject conducive to a state of poetic reverie.
cxd
After 1900, Redon devoted increasing attention to floral subjects. This related not only to the artist's poor financial situation and a great market demand for such works, but also to his sincere fascination with flowers. For Redon and other Symbolist artists and poets, flowers, and especially poppies (because of their association with opium) became a subject conducive to a state of poetic reverie.
Context
false
Related Image Identifier Link:
CMA_.1958.46.tif
ril
CMA_.1958.46.tif
Related Image Identifier Link
false