Odilon RedonFrankrike, 1840–1916Fear
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Odilon Redon’s fantastically dark sensibility is in full evidence in Fear. A rider protecting a child in his arms gallops past desolate plunging ravines, driven by an unseen threat. Redon’s dramatic etching may refer to the Elfking (Der Erlkönig), a tragic 1782 poem by Johann Wolfgang von Goethe. In that work, a father tries to reassure his anxious, dangerously ill son that the hostile elements that beset them are not elves trying to spirit him away. Though the child dies, the poem remains open to interpretation. Indeed, Redon’s forbidding landscape strongly suggests the presence of supernatural forces only the doomed son could sense.
Art Institute of ChicagoCC BY 4.0
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- Inventarienummer
- 1920.1516
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- Art Institute of Chicago
- Bild: Art Institute of Chicago — CC0
I Odilon Redons liv
Hela livet1863
Meets Rodolphe Bresdin
His elder brother introduced Redon to a circle of young intellectuals, where in 1863 he met the proto-Symbolist engraver Rodolphe Bresdin. Deeply affected by Bresdin’s work, Redon resolved to become a graphic artist.
1864
Discovers Millet, Corot and Moreau in Paris
From 1864 Redon studied at the École des Beaux-Arts in Paris under Jean-Léon Gérôme and learned lithography from Henri Fantin-Latour. The paintings of Jean-François Millet, Camille Corot and Gustave Moreau stunned him.
c. 1864 – 1870
Sculpture and lessons with Bresdin in Bordeaux
Back in his native Bordeaux, Redon took up sculpting, and Rodolphe Bresdin instructed him in etching and lithography.
1867–1915
Begins the journal “To Myself”
From 1867 Redon kept a journal, “À soi-même” (“To Myself”), setting out his views on art and creation; the last entries date from 1915.
