View allAll Photos Tagged OdilonRedon
“Resonant”, acrylic on panel, 13.75” x 9”, 2021
Again, I’m not certain that this is finished, but I rather like it as it is. This is another new addition to the #tl_radiator project. The titles of the works in this project (all paintings of my daughter Temma) begin with the letter R. In this case the title is Resonant. As I’m writing this I’m recalling the phenomenon where a room such as a tiled bathroom will resonate to a certain pitch. Or thinking of a bell ringing resonating across a valley. Perhaps the word and / or image evokes a certain response for you…
Odilon Redon. 1840-1916. Paris. Marguerites. Daisies 1901. Paris Orsay.
Décor de la salle à manger du chateau de Domecy.
Decor of the dining room of the castle of Domecy.
“Rapt”, 16” x 13.5”, acrylic on panel, 2021
This is latest addition to the Radiator project. Tomorrow I’m heading to Portland where this project is going to be shown at George Fox University . The opening reception is this coming Monday at 4pm. Stop by if you are in the area.
This painting feels particularly moving for me. I have spent many many hours sitting with Temma. It always feels like being miraculously close to a deep and somewhat mischievous mystery.
Reviver, acrylic on panel, 9.2" X 14"
While the person depicted in each of these paintings is my daughter Temma I have intentionally chosen images that differ from each other is in various ways. The title of the exhibition–and of the largest painting (currently under way) in the group–is "Radiator". My intention with choosing the images I have and the eventual titles is to reflect on different kinds of (perhaps mystical) agency that Temma (who is "profoundly disabled") has.
Odilon Redon. 1840-1916. Paris. Marguerite et baie de sorbier. Marguerite and sorbier bay. 1901. Paris Orsay.
Décor de la salle à manger du chateau de Domecy.
Decor of the dining room of the castle of Domecy.
“Redonner”, acrylic on panel, 13.6” x 12.3”, 2021
I’m not certain that this is finished, but I rather like it as it is. This is a new addition to the Radiator project. The titles of the works in this project (all paintings of my daughter Temma) begin with the letter R. In this case the title is the French word meaning “to give back”. It also references the French artist Odilon Redon whose mystical world (that is, of his art) seems like a place Temma might hang out.
Odilon Redon
(French, 1840–1916)
Partout des prunelles flamboient (Everywhere Eyeballs Are Ablaze), from La Tentation de Saint-Antoine (The Temptation of Saint Anthony), first series, plate IX, 1888
Lithograph on ivory China paper, laid down on ivory wove paper
Portland Art Museum
Odilon Redon. 1840-1916. Paris. Grand panneau à décor végétal fond clair.
Large panel with vegetal background light background.
1901. Paris Orsay.
Décor de la salle à manger du chateau de Domecy.
Decor of the dining room of the castle of Domecy.
Odilon Redon - (Bertrand-Jean Redon Bordeaux, April 20, 1840 - Paris, July 6, 1916) - The Cathedral (around 1914) - Oil on canvas 92.5 x 73.5 cm - Neue Pinakothek (Temporarily at Alte Pinakothek) Monaco
Huile sur toile, collection privée de la Villa Flora.
Exposition des chefs d’œuvre de la collection Arthur et Hedy Hahnloser-Bühler et de la collection Jaeggli, Villa Flora, Winterthur, Suisse, 20-02-15/16-08-15.
Odilon Redon. 1840-1916. Paris. Grande Figure et Figure, fleur jaune
Large Figure and Figure, yellow flower. 1901. Paris Orsay.
Décor de la salle à manger du chateau de Domecy.
Decor of the dining room of the castle of Domecy.
Odilon Redon (1840 – 1916) french printmaker, draughtsman and painter.
An individualist who believed in the superiority of the imagination over observation of nature, rejected the Realism and Impressionism of his contemporaries in favor of a more personal artistic vision.
Born as Bertrand-Jean Redon, he acquired the nickname "Odilon" from his mother, Odile. Redon started drawing as a child, and at the age of ten he was awarded a drawing prize at school. Aged fifteen, he began the formal study of drawing, but on the insistence of his father he changed to architecture. His failure to pass the entrance exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect, although he briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger brother Gaston Redon would become a noted architect.)
Back home in his native Bordeaux, he took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he joined the army to serve in the Franco-Prussian War.
At the end of the war, he moved to Paris, working almost exclusively in charcoal and lithography. He called his visionary works, conceived in shades of black, his "Noirs". It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled, À rebours (Against Nature).
In the 1890s, pastel and oils became his favored media, and he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruel's. In 1903 he was awarded the Legion of Honor.
He became a celebrated figure in fin-de-siècle Paris, greatly admired by artists and writers of the Symbolist movement with whom he shared an enthusiasm for the fantastic, mystical, and sublime forces found beneath the surface of everyday life.
He was greatly inspired by such authors as Edgar Allan Poe and Gustave Flaubert, whose unusual sensibilities were well suited to the artist's own. Redon was so moved by Flaubert's 1874 prose poem The Temptation of Saint Anthony that he created three separate projects based on it.
His popularity increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913 and that same year, he was given the largest single representation at the New York Armory Show.
Redon died on July 6, 1916.
****
"Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance--heavy jawbone, protruding brows, receding forehead, and flattened skull top--recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."
À rebours, chapter V
sources: moma.org; wikipedia.com
Sciapode
Sciapode dans les Chroniques de Nuremberg de Hartmann Schedel (1493).
Les Sciapodes ou Skiapodes (σκιαποδες / skiapodes en grec, littéralement « qui se font de l'ombre avec leurs pieds ») sont un peuple fantastique, évoqué par plusieurs poètes et historiens grecs de l'Antiquité, composé d'êtres possédant une jambe unique terminée par un pied gigantesque. Sa jambe permet à un sciapode de suivre à la course les animaux les plus rapides, et son pied lui sert de parasol pour se protéger du soleil.
Odilon Redon. 1840-1916. Paris. Portrait de la baronne Robert de Domecy. Portrait of Baroness Robert de Domecy. 1900. Paris Orsay.
Odilon Redon (1840 – 1916) french printmaker, draughtsman and painter.
An individualist who believed in the superiority of the imagination over observation of nature, rejected the Realism and Impressionism of his contemporaries in favor of a more personal artistic vision.
Born as Bertrand-Jean Redon, he acquired the nickname "Odilon" from his mother, Odile. Redon started drawing as a child, and at the age of ten he was awarded a drawing prize at school. Aged fifteen, he began the formal study of drawing, but on the insistence of his father he changed to architecture. His failure to pass the entrance exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect, although he briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger brother Gaston Redon would become a noted architect.)
Back home in his native Bordeaux, he took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he joined the army to serve in the Franco-Prussian War.
At the end of the war, he moved to Paris, working almost exclusively in charcoal and lithography. He called his visionary works, conceived in shades of black, his "Noirs". It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled, À rebours (Against Nature).
In the 1890s, pastel and oils became his favored media, and he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruel's. In 1903 he was awarded the Legion of Honor.
He became a celebrated figure in fin-de-siècle Paris, greatly admired by artists and writers of the Symbolist movement with whom he shared an enthusiasm for the fantastic, mystical, and sublime forces found beneath the surface of everyday life.
He was greatly inspired by such authors as Edgar Allan Poe and Gustave Flaubert, whose unusual sensibilities were well suited to the artist's own. Redon was so moved by Flaubert's 1874 prose poem The Temptation of Saint Anthony that he created three separate projects based on it.
His popularity increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913 and that same year, he was given the largest single representation at the New York Armory Show.
Redon died on July 6, 1916.
****
"Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance--heavy jawbone, protruding brows, receding forehead, and flattened skull top--recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."
À rebours, chapter V
sources: moma.org; wikipedia.com
This series is made with an unabashed nod to John Seven whose work is a constant source of inspiration.
Huile sur carton, collection privée de la Villa Flora.
Exposition des chefs d’œuvre de la collection Arthur et Hedy Hahnloser-Bühler et de la collection Jaeggli, Villa Flora, Winterthur, Suisse, 20-02-15/16-08-15.
Aquarelle, gouache et crayon graphite.
Don Arï et Suzanne Redon aux Musées Nationaux, 1984, Paris, musée d'Orsay.
Exposition du 9 décembre 2016 au 27 mars 2017, galerie des Beaux-Arts de Bordeaux.
Odilon Redon. 1840-1916. Paris. Vase,coquelicots, marguerites et camomille. Rotterdam. Boijmans van Beuningen
Odilon Redon. 1840-1916. Paris. Vase, poppies, daisies and chamomile. Rotterdam. Boijmans van Beuningen
New Order
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La Cellule D'Or (Détail)
Odilon Redon
1892
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