Cleveland Museum of Art
Date: 1896
Technique: Lithograph on China paper laid on wove paper, 25.3 x 18.1 cm
Showing posts with label Odilon Redon. Show all posts
Showing posts with label Odilon Redon. Show all posts
8/13/15
Odilon Redon, Prophète
Date: c. 1885
Technique: Black and brown charcoal with black chalk, stumping, scraping and erasing, on ivory wove paper (discolored to cream), 517 x 375 mm
Odilon Redon, Cauldron of the Sorceress
Date: 1879
Technique: Various charcoals, with stumping, erasing, and incising, on pale-pink wove paper with red and blue fibers altered to a golden tone, 408 x 371 mm
6/30/14
Odilon Redon, The Haunting
Date: 1893–94
Technique: Lithograph; fifth (final) state, 36.1 x 22.8 cm
6/27/14
Odilon Redon, Eleonora
Date: 1882
Technique: Drawing - charcoal; black and white chalk on cream paper, 50 x 35.5 cm
5/6/13
Odilon Redon, The Black Torches
Date: 1889
Technique: Charcoal on paper
4/8/12
10/10/11
Odilon Redon, A Mask Sounds the Funeral Knell
The Art Institute of Chicago
Date: 1882
Technique: Lithograph in black on ivory China paper, laid down on white wove paper, 260 x 193 mm
Plate three from To Edgar Poe
Source
9/27/11
9/7/11
Odilon Redon, Spirit of Forest (Specter from Giant Tree)
The Woodner Family Collection, New York
Date: 1880
Technique: Charcoal and black chalk heightened with white chalk, 45.7 x 28.5 cm
Source
6/21/11
Odilon Redon, Chimera
Kröller-Müller Museum, Otterlo
Date: 1883
Technique: Charcoal and black chalk on paper, 50.4 x 34 cm
Source
3/29/11
Odilon Redon, Frontispiece from Iwan Gilkin's Les Ténèbres (Darkness)
The Art Institute of Chicago
Date: 1892
Technique: Lithograph in black on ivory China paper laid down on ivory wove paper, 199 x 122 mm
Les Ténèbres was a volume of poetry by the Belgian, Iwan Gilkin. The poet was more than happy with Redon's interpretation and wrote to the artist:
'This marvellous female demon, who bears with such gentle melancholy, at the fall of night, the baleful cauldron in which bubble the poisons of darkness. I could not imagine a more splendid illustration of the dark dreams which I strove to capture in my verse.'
This frontispiece appeared in an edition of 140 copies of the book printed on china paper (as it is here) and in a de luxe edition of ten printed on Japan paper (at twice the price: 30 francs). Redon rose to great popularity amongst the Belgian Symbolists and began exhibiting at their Salons in 1886. For this frontispiece he took inspiration from the poem, Thought, which begins:
The black angel handed me the cup of dark onyx,
Where a cerebral liquid bubbled sinisterly,
I drank down into the tomb of my mouth,
O, the charm of terror, the splendour of despair!
Odilon Redon, Faust and Mephistopheles
The Art Institute of Chicago
Date: 1880
Technique: Various charcoals, with wiping, stumping, erasing, and incising, on cream wove paper altered to a golden tone, 400 x 320 mm
Source
Odilon Redon, Death: "My Irony Surpasses All Others"
The Art Institute of Chicago
Date: 1888
Technique: Transfer lithograph in black ink on thin ivory wove paper, laid down on heavyweight ivory wove plate paper (chine collé), 261 x 197 mm
Source
2/23/11
Odilon Redon, Through the Crack a Death's-Head Was Projected
The Museum of Modern Art, New York
Date: c. 1886
Technique: Charcoal and chalk on paper, 43.2 x 30.5 cm
Source
Odilon Redon, The Masque of the Red Death
The Museum of Modern Art, New York
Date: 1883
Technique: Charcoal and chalk on paper, 43.7 x 35.8 cm
Source
Odilon Redon, Head of Orpheus
The Museum of Modern Art, New York
Date: c. 1881
Technique: Charcoal on colored paper, 44.5 x 53.7 cm
Source
1/4/11
12/16/10
Odilon Redon, The Raven
National Gallery of Canada, Ottawa
Date: 1882
Technique: Charcoal and chalk, 40 x 27.9 cm
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