Several musicians also appear, including Robert Schumann, the composer Déodat de Séverac, and pianist Ricardo Viñes. Redon employed thin washes of oil paint to give a translucent, ethereal effect, while the pale tones and three-quarter-length composition evoke Italian Renaissance marble portrait busts. Redon described his flowers as being "at the confluence of two riverbanks, that of representation and that of memory." O marchand Durand-Ruel, interessado em sua obra, propôs uma exposição individual. The profiles of Gustave Fayet, his sons Leon and Antoine, and Camille Redon, are depicted to the right of the tree. Redon's pastel still lifes seem familiar, yet simultaneously evoke the heightened images of eidetic, or photographic, memory. The drawing may be related to an exhibition Redon saw in Paris in 1881 featuring the inhabitants of the Tierra del Fuego. Finally, the ethereal surrounding space adds to the sense of the infinite, and the overall effect of the work is one of serene calm. Sua iniciação teve mais a ver com a arte gráfica do que com a pintura. The vase, which is also decorated with a floral motif, seems to float in the space, rather than resting on any obvious surface. Polyphemus, the mythical one-eyed monster from Homer's Odyssey, peers out from behind a rocky hilltop while the captive nymph Galatea sleeps in her grotto, surrounded by flowers. Lithograph - Los Angeles County Museum of Art, Los Angeles, CA. Here he portrays the sitter amidst an abstract floral background. Redon started drawing as a child; and, at the age of ten, he was awarded a drawing prize at school. Stylistically, the painting can be seen as a synthesis of Redon's work up to this point in his career, as it combines his early interest in oil painting with the color palette of his pastel period, along with an image of a "monster" that could have been taken from one of his noirs. Em 1884 fundou com Paul Gauguin e Georges Seurat o Salon des Indépendants (ou Salão dos Independentes) e também participou das exposições do grupo Le XX, em Bruxelas. Redon often depicted scenes from classical mythology in his later pastels and paintings, and he must have been familiar with Ovid's version of the Polyphemus story. O texto completo do artigo está aqui →, Société des Artistes Indépendants (Society of Independent Artists), https://pt.wikipedia.org/wiki/Odilon_Redon. The creature tilts slightly to one side on its spindly legs, as if it had just descended from the ceiling via a silken thread. The androgyne was a very popular subject for the Symbolists because of its association with the spiritual realm, and its inherently hybrid nature (Leonardo's images of St. John often portray him in a decidedly feminine manner, for instance). Redon often depicted scenes from classical mythology in his later pastels and paintings, and he must have been familiar with Ovid's version of the Polyphemus story. All odilon redon paintings ship within 48 hours and include a 30-day money-back guarantee. It is the recognition of our humanity in these strange hybrid creatures - the goofy, toothy grin on a fuzzy spider - that makes them so appealing and repellant at the same time. Rather than a mere element of home decor, the flowers appear like an apparition, a marvelous figment of a fevered imagination. Several small butterflies hover around the bouquet. ©2020 The Art Story Foundation. The head or eyeball dissociated from the physical body is a symbol for freedom from the constraints of everyday life, and the attainment of a higher plane of consciousness. In the lower left, the fronds of a palm-like plant can be seen, and the sky is full of thick clouds. The many floral still lifes that Redon created at the end of his career are among his most popular and recognizable works, and have been widely reproduced. Summary of Odilon Redon Redon is one of the most important and original of all the Symbolist artists. Bertrand-Jean Redon (francês: [ʁədɔ̃]), conhecido como Odilon Redon (Bordeaux, 20 de abril de 1840 — Paris, 6 de julho de 1916) foi um pintor e artista gráfico francês, considerado o mais importante dos pintores do simbolismo, por ser o único que soube criar uma linguagem plástica particular e original. At the same time, closed eyes can also connote death, which for the Symbolists represented the ultimate escape from the real world and the earth-bound limitations of conscious life. The artist employed wiping, stumping, incising and added touches of chalk on cream-colored treated paper, and often allowed untouched areas of the sheet to shine through for highlights. The prints were not meant as illustrations of Poe's poems, but rather as "correspondences," to use Redon's term. The result is to make the viewer, whose gaze is initially drawn to the nymph's form, aware of being watched by a giant who gently guards this inner vision. Galatea's body curled to the side, her face sleeping partially hidden by her overreaching arm, suggests privacy, a turning to the inner world of dreams. 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 gridded pattern on the floor gives a sense of three-dimensional space, but the realism of the setting only enhances the surprising effect of the subject (who has seen such a spider on their kitchen's tiled floor?). Diferente da obra de seus colegas, a sua chegou aos limites da sugestão e da abstração, e pode-se dizer que, tanto formal quanto conceitualmente, chegou, de modo visionário, perto da futura vanguarda surrealista. Pastel and graphite - The J. Paul Getty Museum, Los Angeles. Odilon Redon Gallery . Cada uma das muitas peças é o resultado de uma procura apaixonada do máximo que pode ser extraído da conjugação do uso do lápis, papel e pedra". Born in 1840, Odilon Redon was a French artist known for his symbolist paintings. With large dull eyes, a flattened nose, and wide lips, the head has an expression that is both observant and indifferent. Bertrand-Jean Redon (francês: [ʁədɔ̃]), conhecido como Odilon Redon (Bordeaux, 20 de abril de 1840 — Paris, 6 de julho de 1916) foi um pintor e artista gráfico francês, considerado o mais importante dos pintores do simbolismo, por ser o único que soube criar uma linguagem plástica particular e original. In the panels Redon retrospectively contemplates his own oeuvre, as Day evokes his color period and Night looks back upon his "noirs." View Odilon Redon’s 2,433 artworks on artnet. Yet the ambiguousness of the figure's gender must be acknowledged, and is yet another signifier of the depicted detachment from the material world. The spider's round fuzzy body has a human face, with snub nose and a wide smiling mouth that reveals a row of tiny teeth. With its realistic depiction of dreamlike imagery, The Guardian Spirit of the Waters anticipates 20th-century Surrealism. Redon seems to contrast the elements to which the two figures belong, with the Cyclops rising out of the hard, rocky earth, and the nymph cradled within the sea grotto and its abundant, feminine flora. Day, depicting four horses in homage to Delacroix's ceiling decorations for the Louvre (the Apollo Gallery) in a setting of golden hues and flowers, expresses the gaiety Redon associated with color. A violinist who sometimes performed publicly, Redon said, "music is a nocturnal art, the art of the dream."