Odilon RedonFrankrike, 1840–1916Flower Clouds
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Two figures sail through a luminous imaginary sea in Odilon Redon's Flower Clouds, a pastel dated about 1903 at the Art Institute of Chicago, Chicago. The travellers may be holy women. Their dreamlike boat may also suggest Redon's inner journey towards greater hope, away from the troubled darkness of his earlier work. For years he had used charcoal and printmaking to work in black and white. Pastel opened a different approach to colour during the 1890s, just as those monochrome works were finding a wider audience.
Med museets egna ord
The evocative, symbolic art of Odilon Redon drew its inspiration from the internal world of his imagination. For years this student of Rodolphe Bresdin worked only in black and white, producing powerful and haunting charcoal drawings, lithographs, and etchings. Just as these black works, or Noirs, began to receive critical and public acclaim in the 1890s, Redon discovered the marvels of color through the use of pastel. His immersion in color and this new technique brought about a change in the artist’s approach to his subject matter as well. Flower Clouds is one of a number of pastels executed around 1905 that are dominated by spiritual overtones. Here a sailboat bears two figures, perhaps two saintly women, on a timeless journey through a fantastic, phosphorescent sea and sky. The dreamlike skiff may reflect Redon’s internal voyage, replacing the nocturnal turmoil of the earlier Noirs with a more hopeful vision. The luminous intensity of the pastels echoes the ardent spirituality of the theme.
Art Institute of ChicagoCC BY 4.0
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- Inventarienummer
- 1990.165
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- Art Institute of Chicago
- Bild: Art Institute of Chicago — CC0
I Odilon Redons liv
Hela livet1867–1915
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.
1903 · Utmärkelse
Knight of the Legion of Honour
1904
Redon’s drawings adorn the journal “Vesy”
Redon’s drawings illustrated issues 4 and 5 of 1904 of “Vesy”, the journal of the Russian Symbolists, which also printed articles on the artist by Valery Bryusov and Maximilian Voloshin.
