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The Secret World of Odilon Redon 1840-1916 - ACE043.2
No full textPhotograph of Odilon Redon. Caption : "‘Parle, voix lointaine, monde secret…’ – Brentano." Caption: "Odilon Redon was a contemporary of the Impressionists, but he did not share their aims. Though he is not widely known, he was greatly admired during his lifetime by such men as Gauguin and Mallarmé, his closest friend, and his work has been of fundamental importance for twentieth century painting. Redon spent a solitary childhood at a small estate near Bordeaux. Later in life he returned there every summer for many years, and under its influence did the charcoal drawings which, with his lithographs, were his first significant work. Apart from some early paintings, Redon made almost no use of colour until he was almost sixty, and all his important painting was done late in life. When over seventy, at the Abbaye de Fontfroide near Narbonne, he painted his most ambitious project: two large wall paintings of ‘Day’ and ‘Night’, which summarise his work. The commentary which follows is taken entirely from Redon’s own notebooks." Photographs of Redon. Sketches. Redon VO talks of giving information about himself and his art. The Peyrelebade, near Bordeaux, estate where Redon spent his childhood; VO describing it and himself. Images of childhood, the estate, and "things seen in the clouds". Redon talks about his first lithographs (1879) being copies of things he drawn earlier. The world of dreams and "torments of the imagination". "Bringing to life … improbable beings and creating them according to the laws of probability.
The Secret World of Odilon Redon 1840-1916
No full textPhotograph of Odilon Redon. Caption : "‘Parle, voix lointaine, monde secret…’ – Brentano." Caption: "Odilon Redon was a contemporary of the Impressionists, but he did not share their aims. Though he is not widely known, he was greatly admired during his lifetime by such men as Gauguin and Mallarmé, his closest friend, and his work has been of fundamental importance for twentieth century painting. Redon spent a solitary childhood at a small estate near Bordeaux. Later in life he returned there every summer for many years, and under its influence did the charcoal drawings which, with his lithographs, were his first significant work. Apart from some early paintings, Redon made almost no use of colour until he was almost sixty, and all his important painting was done late in life. When over seventy, at the Abbaye de Fontfroide near Narbonne, he painted his most ambitious project: two large wall paintings of ‘Day’ and ‘Night’, which summarise his work. The commentary which follows is taken entirely from Redon’s own notebooks." Photographs of Redon. Sketches. Redon VO talks of giving information about himself and his art. The Peyrelebade, near Bordeaux, estate where Redon spent his childhood; VO describing it and himself. Images of childhood, the estate, and "things seen in the clouds". Redon talks about his first lithographs (1879) being copies of things he drawn earlier. The world of dreams and "torments of the imagination". "Bringing to life … improbable beings and creating them according to the laws of probability."Redon’s VO reading poem on death. Sketches, ithographs, and film of derelict cemetery. Redon says he later discovered life and hope. More of his sketches and lithographs, and some paintings. Paintings. Redon on his use of colour. Portraits More paintings. A St Sebastian. Redon on beauty and meaning. Paintings of people reading. "What did people do before there were books?" The impenetrable mystery of the world. Redon on the "sacred torment" of the unknown and unconscious. Beach, waves. Some of Redon’s pictures of imaginary sea creatures, paintings of boats. Seascapes. Redon’s VO exhorting artists to look at the sea. Painting. Redon on waiting for the unconscious to inspire. Paintings. A Birth of Venus (1912). Redon on the importance of love. Paintings including version of The Chariot of Apollo, various images of Pegasus; Redon’s VO "Oh my soul of former times, distant spirit…" Pastel of Bouquet of Anemones (1912-1914); other paintings. Redon’s VO on the need for an artist to review his life. Film of the Abbaye de Frontfroide; 1910 black and white picture of people (including Redon) at the Abbey. Photograph of Redon at work on huge canvas. Another photograph. Interior of Redon’s library, details of décor. VO talks about being visited by would-be student, and about the influence he hopes his work will have on people. VO on "the Chariot of Apollo", the subject of one of the library murals. Other images. The "little mystery" in his work. Photograph of Redon. Redon on his work being misunderstood by the Impressionist generation. A fairy violinist. Credits
Arte fantástico: Odilon Redon
No full textObjeto de aprendizaje: Presentación interactivaUn análisis breve sobre la obra de Odilon Redon.1. Introducción1.1. El artífice de sueños1.2. Atributos de su obra1.3. Los negros1.4. Interpretación de los negros1.5. La soledad del artista1.6. Sobre el arte2. Actividad1.0A brief analysis of the work of Odilon Redon
ODILON BARROT
No full textSeries: Les Représentans Représentés
Published in Le Charivari
Original text: ODILON BARROT. Plan, coupe et élévation du grand homme et de son piédestal.https://commons.und.edu/daumier-prints/1726/thumbnail.jp
Odilon Redon miraculé
No full textCoustet Robert. Odilon Redon miraculé. In: Revue de l'Art, 1993, n°100. pp. 84-85
Odilon Redon et ses critiques
No full textOdilon Redon und seine Kritiker.
Eine Prüfung der komplexen und häufig konlikthaften Beziehungen Odilon Redons (1840-1916) zu seinen Kritikern, insbesondere zu Joris-Karl Huysmans, erhellt die wechselseitigen Abhängigkeiten, die Maler und deren Kommentatoren zugleich einen und trennen — zu einem Zeitpunkt, in dem das Ende des staatlichen Monopols auf Konsekration der Kunstwerke die Herstellung ihres Werts zu einem zentralen Objekt der Auseinandersetzung zwischen den diversen Protagonisten des künstlerischen Feldes werden läßt.Odilon Redon and His Critics.
A study of the complex and often conflictual relations between Odilon Redon (1840-1916) and his critics, in particular Joris-Karl Huysmans, brings to light the relationship of interdependence which united and opposed the painters and their commentators, at a time when the end of the state monopoly on the consecration of works of art was making the production of their value a major stake in the contests between the various protagonists in the artistic field.Odilon Redon et ses critiques.
L'examen des rapports complexes et souvent conflictuels entretenus par Odilon Redon (1840-1916) avec ses critiques, en particulier avec Joris-Karl Huysmans, permet de mettre en évidence les relations d'interdépendance qui unissent et opposent les peintres et leurs commentateurs, au moment où la fin du monopole étatique de consécration des œuvres d'art fait de la production de leur valeur un enjeu de lutte majeur pour les divers protagonistes du champ artistique.Odilon Redon y sus critícos.
El examen de las relaciones complejas y siempre conflictivas mantenidas por Odilon Redon (1840-1916) con sus críticos, en particular con Joris-Karl Huysmans, permite de poner en evidencia las relaciones de interdependencia que unen y oponen los pintores y sus comentaristas, al momento cuando el fin del monopolio estatal de consagración de las obras de arte hace de la producción de su valor una postura de lucha maxima para los diversos protagonistas del campo artístico.Gamboni Dario. Odilon Redon et ses critiques. In: Actes de la recherche en sciences sociales. Vol. 66-67, mars 1987. Histoires d’art. pp. 25-34
Fegdal (Charles), Odilon Redon, 1929
No full textPuech Henri-Charles. Fegdal (Charles), Odilon Redon, 1929. In: Revue d'histoire moderne, tome 4 N°22,1929. pp. 317-318
Chimères et fantasmagories : Odilon Redon et Gérard de Nerval
No full textEn ligne : http://www.rmn.fr/francais/decouvrir-l-histoire-de-l-art/conferences-colloques-174/exposition-odilon-redon-prince-du-2399conférence au Grand Palais dans le cadre de l'exposition Odilon Redon, Prince du rêve, 4 mai 201
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