odilon redon biography

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Many of the Nabis, including Édouard Vuillard and Pierre Bonnard, created large-scale decorative projects such as folding screens and murals, and Redon would do so as well toward the end of his career, most notably in his wall paintings for the chateau of Baron Robert de Domecy and Fontfroide Abbey. Nothing prostitutes it. Redon's fame grew toward the end of his life; in 1903 the French government bestowed upon him the Legion of Honor. However, the happiness of his marriage was overshadowed by the loss of the couple's firstborn child, a son, who died at six months old. In 1879 he produced his first lithographic series, In the Dream. Bibliography André Mellerio, 'Odilon Redon', Paris (Société pour l'Etude de la Gravure Française), 1913 (206 nos) Sharon R Harrison, 'The Etchings of OR, a catalogue raisonné', New York 1986 . Odilon Redon was particularly interested in representing the ethereal forms of Venus, Pandora and Andromeda. Around the same time, Redon befriended Paul Gauguin, who clearly understood his friend's visionary art: "I do not see why it is said that Odilon Redon paints monsters. Articles from Britannica Encyclopedias for elementary and high school students. Later, Henri Matisse acknowledged the influence of Redon's pastels on his own colorful Fauvist palette. Share. He is particularly interested in English linguistics and culture. The most famous example of Redon's fine art painting, whose mysterious symbolism anticipated Surrealism. Bojan is an author for Widewalls. Omissions? Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family. His nickname was a derivation of his mother's first name, Odile, who was a French Creole woman from Louisiana. His prints explore haunted, fantastic, often macabre themes and foreshadowed the Surrealist and Dadaist movements. His aesthetic was one of imagination rather than visual perception. ©2020 The Art Story Foundation. In 1865, seeking a more supportive environment, Redon returned happily to his family home in Bordeaux and took up sculpture. This tragedy plunged Redon into a profound depression that he poetically described as a "melancholy faintness. In Paris Redon met and began a lifelong and highly influential friendship with the botanist Armand Clavaud who introduced him to the scientific theories of Charles Darwin, the literary works of Charles Baudelaire, Gustave Flaubert, and Edgar Allan Poe, and the sacred texts of Hinduism and Buddhism. Subscribe 284. Because of his ill health, perhaps due to epilepsy, Redon was entrusted to his uncle's care and grew up in Peyrelebade in the Medoc region of France on the family's winemaking estate. The young Bertrand Redon acquired the nickname "Odilon" from his mother's first name, Odile. His mother, Marie Guerin, of French descent, was from New Orleans. He spent a sickly childhood at Peyrelebade, his father's estate in the Medoc. His prints explore haunted, fantastic, often macabre themes and foreshadowed the Surrealist and Dadaist movements. About the time of the print series The Apocalypse of St. John (1889), Redon began devoting himself to painting and colour drawing—sensitive floral studies, and heads that appear to be dreaming or lost in reverie. Redon's father made his fortune in the slave trade in Louisianain the 1830s. His works signaled the shifting tides of modern art, from Impressionism to Symbolism, and from a focus on observing the fleeting effects of nature toward a concern for an emphasis on subjectivity and inner vision. Odilon Redon exhibited some prints in the Salon of 1867. No matter the medium, Redon's primary concern was with the subjective experience of spirituality, rather than illustrating liturgical texts. A key part of Redon's influence was the suggestiveness of his art - rather than describing things for us, the viewer participates actively in interpreting the work. Read the artist bio and gain a deeper understanding with MutualArt's artist profile. For instance, To Edgar Poe appeared in 1882 (Poe's poems had been translated into French a decade earlier by Mallarmé), and The Temptation of Saint Anthony, inspired by Flaubert's novel, in 1896. Publication. However, Redon also characterized himself as a "sad and weak child," who "sought out the shadows." Redon was conceived in New Orleans and the couple made the transatlantic journey back to France while his mother Marie Guérin, a French Creole woman, was pregnant. He developed a unique palette of powdery and pungent hues. Other scholars have attributed Redon's embrace of color to his personal happiness, as his second son, Ari, was born in 1889. His nickname was a derivation of his mother's first name, Odile, who was a French Creole woman from Louisiana. Facebook. His nickname was a derivation of his mother's first name, Odile. All Rights Reserved |. He bega… Content compiled and written by Rebecca Seiferle, Edited and published by The Art Story Contributors. In 1870 he was drafted into the Franco-Prussian War, which ended with France's humiliating defeat and the Commune one year later. Bojan is also interested in Photography and Digital Art. His imagination found an intellectual catalyst in his close friend, the Symbolist poet Stéphane Mallarmé. MAIN A-Z INDEX - A-Z of ARTISTS. Odilon Redon, born as Bertrand-Jean Redon in 1840, was a French symbolist painter, printmaker, draughtsman and pastellist. Learn more about Odilon Redon (French, 1840 - 1916). Redon exhibited with the Impressionists in their last group exhibition in 1886. But the impact of Redon's noirs on modern art was perhaps even more profound, for in them we find his greatest originality and inventiveness. Think you know your artists? After 1900, Redon began to focus on portraits, many of them done on commission, as well as mythological and literary subjects, floral still lifes, and the aforementioned decorative work. There is an evident link to Goya in Redon’s imagery of winged demons and menacing shapes, and one of his series was the Homage to Goya (1885). He was the son of a French emigre who had struck it rich in New Orleans. At Mallarmé's Salons, Redon met the critic and novelist, Joris-Karl Huysmans, who became a great admirer of the artist's. Let us know if you have suggestions to improve this article (requires login). Everything he made from here on was utterly awash with brilliant color which displayed what the twentieth century Surrealist artist, Andre Masson, was to call "lyrical chromatics.". He recalled, "I remember taking a deep and unusual joy in hiding under the big curtains and in the dark corners of the house." He also introduced the young artist to art by their contemporaries, including Jean-Baptiste-Camille Corot and Gustave Moreau. In the 1890s Redon's work underwent a radical change, as he began working predominantly in pastels, at last employing color after years of only black. Redon studied under Jean-Léon Gérôme; mastered engraving from Rodolphe Bresdin, who exerted an important influence; and learned lithography under Henri Fantin-Latour. The novel helped make Redon famous. The Surrealists were particularly taken with the dreamlike quality of those charcoals and lithographs, and André Breton, their de-facto leader, was a particularly great admirer. Our editors will review what you’ve submitted and determine whether to revise the article.

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