Redon, account

 

Impressionism, a historical reconstruction:

Odilon Redon

(1840-1916)

Account

of his exhibited works

 

Introduction:
On this page you will find a more extended account of the works that Redon exhibited at the 8th ‘impressionist’ exposition. On this page you will also find a brief account of the pictures that Odilon Redon exhibited at the Salon (=S) (1867-78) and it’s successor of the Société des Artistes Français (=SdAF) (1885+86), at regional exhibitions namely in Bordeaux (1860-83), at La Vie Moderne in 1881 (=LVM), at the Salon des Indépendants (=SdI) (1884-87 + 1926), at Les XX (=XX) (1996+87+90), at La Libre Esthétique (=LE) (1894, 1895, 1901 + 1909), at the Expositions Peintre et Gravures (=EPG) (1889-93) at Durand-Ruel, at the Exposition Universelle in 1900 (=EU), at the Salon d’Automne (=SdA) (1904-06), at the ‘Armory show’ in the USA in 1913. And also at (larger) solo exhibitions at Durand-Ruel (=DR) in 1894+1900 + 1903 + 1906 and in Rotterdam (1907) and at (larger) retrospectives in 1917, 1920, 1923 and 1926.  For general info on Odilon Redon and the used sources see the main page. See link for an impression of his  exhibited pictures in 1886 and at other exhibitions.

 

The eight ‘impressionist’ exposition 1886:

  • catalogue numbers 124-138.
  • The catalogue doesn’t indicate what media were used. Normaly this means it were oil paintings. But the review of Maus↓ and others, suggest all the works were drawings (R1,p523).
  • probably Redon exhibited a fan outside the catalogue (=hc).
  • so in total Redon exhibited 15+1hc=16 works
    • 0x indication of place.
    • 0x indication of time, season or weather
    • 0x a study
    • 6x loans (appartient à…): M. J.K. Huysmans (no. 129), Maurice Fabre (no.130), M. Berthous-Lafargue (no. 132), M. Ch. Hayem (no. 133+135+138).
  • See for the suggestions of Moffett (R2,p446), he refers to Wildenstein, but it is unclear to what work. See for the suggestions of Berson (R90II,p250/1+274), she sometimes refers to letter of Marie-Christine Decroocq (1984/09/05). See for the suggestions of Alec Wildenstein and others in the 4 volumes of the Catalogue raisonné de l’oeuvre peint et dessiné (1992-98=R182=iR189=aR2-6) and specialy volume IV, rendering an overview of his exhibited works (aR6=iR189=R182IV,p330).

Reviews:
Jean Ajalbert (1886/06/20) reviewed ‘M. Odilon Redon exhibits some of his fantastical visions. For the trade he is a consummate artist; It is easy to see this just by inspecting his works. So much the worse for those who are frightened by the dizzying conceptions of this rare poet.’ (R90I,p433).
Jules Christophe (1886/06/13) reviewed ‘The magician Odilon Redon, the Edgar Poë of drawing, gives here disturbing figures and things of his own, as already; (…) Nothing than the titles evoke.’ (R90I,p437).
Marcel Fouquier (1886/05/16) reviewed ‘As for M. Odilon Redon, this artist has the reputation, in a circle or two of being the Edgar Poë of the pencil, of having, as V. Hugo said of Baudelaire, “endowed the sky of art with a macabre ray” and “created a new thrill”. Not having shuddered in front of …, I had the leisure to notice that, if the inspirations of M. Odilon Redon are more or less fantastic, his drawing is indisputably strange. Maybe M. Odilon Redon would find more profit in studying the work of G. Doré than in rereading le Corbeau, l’Homme des foules or even la Chute de la maison Usher.’ (R90I,p448).
Victor Fournel (1886/06/10) his review is rendered at no.138+hc↓ (R90I,p449).
Gustave Geffroy (1886/05/26) reviewed ‘M. Odilon Redon, the poet-lithographer of the fantastic, the evocator of animated darkness, the illustrator born of Edgar Poë, had his marked place among this group of artists. He brings his sense of honour, his mournful dreams…’ (R90I,p450).
Emile Hennequin (1886/06/19) reviewed ‘This master of black, who is only in this group because he is not of any, and exhibits a notable series of his drawings. One knows our opinion on this great artist. We will not repeat it and send all those who are still touched by the ideal beauty and the subtle passion to his two masterpieces: la Tête sauvée and la Tentation.’ (R90I,p454).
Firmin Javel (1886/05/16) reviewed ‘M. Odilon Redon, with his visions of such profoundly subjective originality, occupies a whole panel in front of which one could stand for hours and write a volume.’ (…) so many terrible, grandiose, dizzying poems! It seems that we are leaning over an abyss, the abyss of life! ‘ (R90I,p459).
Octave Maus, founder of Les Vingts, 1886/06/27 in the Brussels l’Art moderne in his review tittled ‘Les Vintistes parisiens’ calls his art ‘strangely suggestive’ and wrote ‘M. Redon exhibits no less than 15 drawings, of which there are several of the highest order, such as: Béatrix, L’intelligence, La désespérance, Profil de lumière.’ (R90I,p463).

1886 catalogue: (R2,p445/6; iR1)

8IE-1886-124, Tête laurée
Eng; unglazed head; Nl. ongelakt hoofd; probably meant is: a head with a laurel wreath. Moffett suggests a work in a private collection in Paris, referring to Wildenstein. Berson refers to Decroocq and suggests: 18xx, Tête laurée, charcoal, 50×37, private (R90II,p250+274), which is Wildenstein CR143, who also suggests this work for no.124: 18xx, CR143, Tête Laurée, fusain, 50×37, private (R182I,p67;iR10;iR59;R90II,p274+250) =Le Gaulois 1882/02-2, Béatrix; =? 3XX-1886-1, Tête laurée; =solo expo DR1894-47. Berson also refers to the reviews of Fouquier (just mentions the tittle), Geffroy (’that looks like a cut off head of Caesar’), Hennequin (‘Tête sauvée’) and Javel (who just mentions the tittle). Note: the reference of Geffroy to Caesar, makes me think of CR261, but this work has had another tittle (no.3) at Les XX exposition held earlier that year where under no.1 also a Tête laurée was exhibited. But it makes the suggestion for CR143, which dépicts Béatrix, less likely. Wildenstein also suggests CR398: 1xxx, CR398, La Gloire, fusain, 53×37, A1987/11/12 (R182I,p160;iR14+IV,p330) =? 3XX-1886-1, Tête laurée. I think this suggestion is less uncertain.

8IE-1886-125, Le secret
According to Moffett, perhaps: 1886, Le prisonnier (L’accusé), charcoal, 53×37, MoMa New York (R2,p464). Berson repeats this suggestion, as does Wildenstein: 1886, CR1065, Le prisonnier (L’accusé), charcoal, 53×37, MoMa New York (R2,p464+446;R90II,p250+274) =? 3XX-1886-4, Le secret. Berson adds as second option referring to Decroocq: 18xx, Le Penseur à la fenêtre (Le Chevalier à la fenêtre), charcoal, 39×33, private (R90II,p250+274). She also refers to the reviews of Ajalbert, Fouquier (just mentions the tittle) and Geffroy (‘mysterieus’). Ajalbert (1886/06/20) describes the work as ‘behind the bars of a jail, a thoughtful face, lips sealed by one finge, illuminated by intense light’ (R2,p464;R90I,p433). Wildenstein doesn’t mention CR1064 as an option: 18xx, CR1064, Le penseur à la fenêtre, fusain, 39×33, private (R182II,p159+IV,p330) =Rotterdam 1907-180 = retrospective 1926-180. The man depicted also isn’t behind bars of a jail, but of a window, so I agree with Wildenstein. Wildenstein also renders a second option: CR1066: 18xx, CR1066, Visage derrière une fenêtre (La novice; Femme sauvage), fusain, 43×38, private (iR2;R182,no1066) =? 3XX-1886-4, Le secret.

8IE-1886-126, Homme primitif
Compare: SdAF-1885-4970 with the same title. Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the reviews of Ajalbert (‘Beastly crouched, eyes empty, forehead small’; R90I,p433) and Javel (‘it is Genesis itself’). Wildenstein suggests CR836: 1872, CR836, Primitive man (sitting in the shades), dr+p, 39×34, AI Chicago (M20;R182,p51=no836;iR10) =3XX-1886-2, Homme primitif. Compare LVM-1881-3 =CR836 or 837.

8IE-1886-127, L’empreinte
Eng.: the print. Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the review of Christophe, who just mentions the tittle. Wildenstein suggests CR490: 1xxx, CR490, L’empreinte, fusain, 40×31, private (R182I,p194+IV,p330). 

8IE-1886-128, L’intelligence
Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the reviews of  Christophe (just mentions the tittle), Geffroy (‘harsh’) and Maus (just mentions the tittle). Wildenstein suggests CR157: 1885, CR157, Head of a small girl (On waking, I saw the GODDESS of the INTELLIGIBLE with her severe and hard profile), fusain, 61×46, Carnegie Pittsburgh (M35;R182,no157+IV,p330), note this suggestion is done on page 330 of volume IV, but not at no.157 itself. Note: there is a lithograph at the Museum of Modern Art in New York: 1885, Upon waking I perceived the goddess of the intelligible, lithograph, 27×22, MuMa New York (R1,p501). 

8IE-1886-129, Tentation; appartient à M. J.K. Huysmans
Eng.: temptation. Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the reviews of Fournel (‘of a comical irresistibility’), Fouquier, Hennequin and Javel (the last 3 just mention the tittle). Wildenstein suggests CR946: 1xxx, CR946, La Tentation, fusain, 22×20, private (R182II,p99+IV,p330) .

8IE-1886-130, Béatrix; appartient à M. Maurice Fabre
Moffett suggests a work now in a private collection (of Le Poët-Laval), referring to Wildenstein. Berson, referring to Decroocq, suggests: 18xx, Béatrix, charcoal, 42×37, private (R90II,p251+274). She also refers to the reviews of Christophe and Maus (both just mention the tittle). Wildenstein suggests CR144: 18xx, CR144, Béatrice, fusain, 42×37, private (R182I,p68+329+no144;R90II,p274+251;R2,p446) =? Le Gaulois 1882/02-2 =Bordeaux 1883-426 =? SdA-1904-11.

8IE-1886-131, Paysage
Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the review of Geffroy (‘a tender charm’). Wildenstein also doesn’t give a suggestion. The most landscapes that Redon made were oil paintings. As a very uncertain option I render one of his drawings depicting a landscape: 1868, CR611, SDbl, Le Paysage au grand chêne, fusain, 54×76, AI Chicago (M20;R182I,p236) =Bordeaux 1868-519. This work clearly has a ’tender charm’. Compare: no.138; LG1882-18+19,Paysage and 3SdI-1887-403+404, Paysage.

8IE-1886-132, Salomé; appartient à M. Brethous-Lafargue
Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the reviews of Christophe (just mentions the tittle) and Fournel (‘incredible’). Wildenstein suggests CR1152: 1xxx, CR1152, Salomé (et la tête de Saint-Jean-Baptiste posée sur un plat), fusain, 21×18, NAMA Kansas C (R182II,p200+IV,p330).

8IE-1886-133, La désespérance; appartient à M. Ch. Hayem
Eng.: despair. Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the reviews of Christophe, Javel and Maus (all just mention the tittle). Wildenstein suggests CR447:  or: CR189: 1xxx, CR189, Femme souffrant, fusain, 45×37, private (R182I,p83+IV330), note this suggestion is done on page 330 of volume IV, but not at no.189 itself. Wildenstein also suggests CR447: 1882, CR447, Despair (la souffrance), 70×52, A2012/05/03 (iR2;iR10;iR11;iR13;R182,no447+IV,p330), but this is an oil painting and also this suggestion is done on page 330 of volume IV, but not at no.447 itself. So I will render it as a very uncertain suggestion. Note: the smile on the face, doesn’t seem to fit the tittle of this work.

8IE-1886-134, La Veuve
Eng.: the widow. Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the review of Javel (just mentions the tittle). Wildenstein suggests CR247: 1875ca, CR247, Head of a woman (Femme de profil), fusain, 36×33, KMM Otterlo (M72;R182,no247+IV,p330), note this suggestion is done on page 330 of volume IV, but not at no.247 itself.

8IE-1886-135, Profil d’enfant; appartient à M. Ch. Hayem
Moffett doesn’t give a suggestion. Berson leaves out this work, which means there were no reviews. Wildenstein also doesn’t give a suggestion. Wildenstein refers just to 3 works connected to Charles Hayem: CR189, 247 + 266 (R182IV,p414), this doesn’t include a ‘profil d’enfant’.
A suggeston could be: 1866-70ca, CR1984, Head of the infant Jesus, dr, 32×26, Orsay (R182IV,p4+no1984) =S1870-3987, Dessin d’après Léonard de Vinci =Bordeaux 1872-440, Tête d’enfant (d’après Léonard de Vinci) =? Bordeaux 1878-437, Tête d’enfant =? 1SdI-1884-1, Profil d’enfant = DR1894-49, L’enfant (d’après le Vinci) = retrospectives 1923—111 + 1926-220 (R182IV,p329-347). Note: that this work probably was exhibited at the first Salon des Indépendants with the same title. But Wildenstein indicates it was in the collection of Ari Redon, the son of the artist, what probably meant that it hasn’t been in the collection of Hayem. So I will not render it as an option.
Other very uncertain suggestions are: 18xx, CR236, Portrait de Jeune Femme, dr, 39×32, A2018/09/20 (iR11;R2,p446;R182,no236); and: 1xxx, CR341, La Landaise, fusain, 48×35, private (R182I,p139+no341) =4XX-1887-1, La LandaiseXX87 =DR1894-39 =retrospective 1920-165. 

8IE-1886-136, Lune noir
Eng.: dark moon. Moffett doesn’t give a suggestion. Wildenstein also doesn’t give a suggestion and neither renders a tittle called ‘lune noir’. Berson leaves this work unidentified and refers to the reviews of Ajalbert, Christophe and Fouquier (the last two just mention the tittle). Ajalbert, calling the work ‘Paysages de lune’ reviewed ‘The moon stares at the black countryside with its Pierrot’s eyes that wince horribly’; furthermore referring to Verlaine (R90I,p433). To compare I render a litograph: 1882, On the horizon, the angel of certitude and in the dark sky a questioning eye (Edgar Allen Poe), litho, 27×21, AI Chicago (M20;iR10;iR64;iR7), this picture has some similarities with the description of Ajalbert. I also render a drawing that also show similarities with this description: 1884-85, CR1181, Fleur de marécage, dr, 49×33, KMM Otterlo (iR6;iR10;M72;R182,no1181;R2,p446); a lithograph of this drawing is included in 1885 in the album ‘Hommage à Goya’.

8IE-1886-137, Profil de lumière
Moffett suggests a work in the Musée du Petit Palais in Paris. Berson adds: 18xx, Profil de lumière, charcoal, 35×23, MPP Paris (R90II,p251+274). Wildenstein suggests the same work, namely CR266: 1881ca, CR266, Profil de lumière, charcoal, 35×23, MPP Paris (iR2;iR59;R90,no266;R2,p446;M4). Christophe, Fouquier, Javel and Maus just mention the tittle. Geffroy calls it ‘sad’.

8IE-1886-138, Paysage; appartient à M. Ch. Hayem
Moffett doesn’t give a suggestion. Berson leaves this work unidentified and refers to the review of Geffroy (‘a tender charm’). Wildenstein also doesn’t give a suggestion. Wildenstein refers just to 3 works connected to Charles Hayem: CR189, 247 + 266 (R182IV,p414), this doesn’t include a ‘paysage’. As a very uncertain option I render: 1880ca, CR1669, Landscape, dr, 47×36, MBA Bordeaux (iR2;R182,no1669). This work clearly has a ’tender charm’. Compare: no.131; LG1882-18+19,Paysage and 3SdI-1887-403+404, Paysage.

8IE-1886-138+hc, Eventail
Nor Moffett, nor Berson, nor Wildenstein suggests that there was a work exhibited outside the catalogue (=hc). But Victor Fournel (1886/06/10) reviewed ‘I especially recommend a painted fan with transverse and longitudinal stains, which obviously have some meaning in the author’s idea, even though it’s absolutely impossible, I’m not saying to see it, but to guess a being or an object in it, and the fantastic visions of a gentleman pursued by nightmares that he’s mistakenly trying to tell and so should we, in addition to an incredible Salomé, a Tentation of a comical irresistibility’ (R90I,p449) The catalogue only renders 1 fan of Pissarro (no.106) and 6 of Morisot (no.94). Berson connects the review of Fournel to the fans of Morisot, but note that Fournel is speaking of a male artist and at the end refers to no. 132 and 129 exhibited by Redon. Also the description ‘fantastic visions’ and ‘nightmares’ resembles themes Redon depicted. So, I assume that Redon exhibited a fan outside the catalogue. The Wildenstein catalogue doesn’t include one fan (R182), nor could I find a fan made by Redon on the internet. So I can’t give a suggestion. 

 

 

Odilon Redon at the Salon:
There also were other artists with the name Redon exhibiting at the Salon in 1848/ 64/ 87/ 88/ 89/ 90/ 99/ 1904. And at the SNBA in 1903 + 06. There  was namely a landscape painter called Pierre-Maurice Redon, born in Paris, who exhibited at the Salon in at least 1877+84+86. (iR1)
The Salon database indicates that Odilon Redon was born in Bordeaux and that he was a pupil of Gérôme.
His correspondence address was: 1867: M. Carpentier, 8, boulevard Montmartre, Paris

S1867- 2690, Paysage; eau-forte
Wildenstein indicates this work is tittled ‘Le Gué’ (Eng.: the ford; Nl.: doorwaadbare plaats) (aR6=iR189=R182IV,p329). Wildenstein doesn’t give a suggestion. I assume it was: 1865, Le Gué (The ford), etch, 24×16, NGA Washington (M21;iR6;iR10;iR2;R182IV,p329;iR1). =1? LG1882-23, Le Gué (eau-forte). Compare the landscape drawings: 8IE-1886-131 and 8IE-1886-138.

S1868-/-, Roland à Roncevaux
Wildenstein indicates that the painting Roland à Roncevaux was accepted, but not exhibited =R182,CR1044, referring to a notification of Félix Léal in La Gironde (1870/05/14). It was also exhibited in Bordeaux 1870-540, Roland (aR6=iR189=R182IV,p329) and at the retrospectives of 1920 (no.14), 1923 (no.6) and 1926 (no.61). Now: 1860, SDbr, Roland à Roncevaux, 49×61, MBA Bordeaux (iR2;iR10;R182II,no1044;M11)

S1870-3987, Dessin d’après Léonard de Vinci
Wildenstein indicates this was R182,CR1984: 1866-70ca, CR1984, Head of the infant Jesus, dr, 32×26, Orsay (R182IV,p4+no1984). =Bordeaux 1872-440, Tête d’enfant (d’après Léonard de Vinci) =? Bordeaux 1878-437, Tête d’enfant =? 1SdI-1884-1, Profil d’enfant =?? 8IE-1886-135, Profil d’enfant = DR1894-49, L’enfant (d’après le Vinci) = retrospectives 1923—111 + 1926-220 (R182IV,p329-347).

S1878-3709, Un faune menant un ange; fusain
Eng.: A fauna leading an angel; charcoal. Wildenstein indicates this was R182,CR949: 1xxx, CR949, L’Ange et le démon, fusain, 45×37, MBA Bordeaux (R182II,p101+no949;iR6;iR23). Also exhibited as Bordeaux 1879-445, Ange et démon, fusain (aR6=iR189=R182IV,p329).

1883, Béatrix ??
One source indicates that Redon exhibited a charcoal drawing called ‘Béatrix’ at the Salon of 1883 (aR1), but this is not confirmed by the Salon database (iR1), nor by Wildenstein (aR6=iR189=R182IV,p329).

SdAF-1885-4970, Une lithographie: L’Homme primitif; Gravure
Compare: 8IE-1886-124: 1872, CR836, Primitive man (sitting in the shades), dr+p, 39×34, AI Chicago (M20;R182II,p51=no836;iR10). Wildenstein doesn’t mention this work being exhibited.

SdAF-1886- 5329, Une lithographie: La vieillesse
Eng.: (a person of) old age. Wildenstein doesn’t mention this work being exhibited. Maybe now: 1886, To Old Age (A la vieillesse), litho, 31×24, NGA Washington (iR6;M21;iR2). It was part of an album with lithographs published in 1886 and called ‘La Nuit’. This lithograph was made after a drawing: 1865, CR46, SDbr, Rodolphe Bresdin (La vieillesse), charcoal+ink, 31×24, Orsay / DAG Louvre (iR2;M5a;R182,no46;M1;M5a).

 

Odilon Redon at regional exhibitions:
Redon exhibited his works at several regional exhibitions. (aR6=iR189=R182IV,p329vv)
In Bordeaux in 1860 (2x), 1861 (3x), 1865 (1x), 1866 (7x), 1867 (3x), 1868 (2x), 1870 (2x), 1876 (2x), 1877 (1x), 1878 (2x), 1879 (1x), 1883 (1x).
In Lille in 1866 (3x).

 

Odilon Redon at La Vie Moderne:
In April and May 1881 there were 12 charcoal drawings of Redon exhibited at La Vie Moderne (=LVM-1881; aR6=iR189=R182IV,p329).

LVM-1881-1, Mauvais génies
Now: R182,CR2635: 1xxx, CR2635, Dans les boues primordiales (dans la fange primitive), fusain, 30×24, private (R182IV,p275+329-331) =LVM-1881-1, Mauvais génies; = LG1882-14, Dans les boues; =DR1894-46, Dans les boues primordiales

LVM-1881-2, L’Ange déchu
Now: R182,CR933.

LVM-1881-3, L’Homme primitif
Now: R182,CR836 (=8IE-1886-126, Homme primitif) or 837.

LVM-1881-4, Le Mystique
Now: R182,CR881.

LVM-1881-5, Le Profil
Now: R182,CR261: 1875ca, CR261, Profile of glory (Caesar) (Tête de Romain à la couronne de lauriers), dr, 36×31, KMM Otterlo (iR10;iR7;R182,no261+IV,p329-331;M72) =3XX-1886-3 =2EPG-1890.

LVM-1881-6, Satyre
Now: R182,CR1231: 1xxx, CR1231, Le Satyr (cynique sourire), fusain, 35×29, private (R182II,p257+IV,p329) = Le Gaulois 1882/02-5.

LVM-1881-7, Méphisto.
Now: R182,CR417.

LVM-1881-8, Caliban.
Now: R182,CR1219: 1xxx, CR1219, Gnome (L’ambition), fusain, 48×36, private (R182II,p252+IV,p329). Part of the Schuffenecker collection 1881/04 – 1926/02.

LVM-1881-9, L’Oeil.
Now: R182,CR1097. Compare: CR749.

LVM-1881-10, Après le supplice.
Eng.: After the torture. Now: R182,CR1149: 1xxx, CR1149, Tête de décapité sur un socle, dr, 45×34, private (iR386;iR10;R182,no1149+IV,p329).

LVM-1881-11, Trois arbres noirs et dépouillés.
Eng.: Three black and bare trees.

LVM-1881-12, Le Silence éternel de ces espaces infinis m’effraie.
Now: R182,CR584: 1870ca, CR584, The Eternal Silence of These Infinite Spaces Frightens Me, dr, 23×28, MPP Paris (iR127;iR10;iR2;R182IV,p329).

 

Odilon Redon at Le Gaulois:
1882/02 there was an exhibition of charcoal drawings and engravings of Redon at the premises of Le Gaulois (=LG-1882; R182IV,p329+330)

LG1882-1, Martyr
Now: R182, CR1144.

LG1882-2, Béatrix
Now: R182, CR143 (=?? 8IE-1886-124, Tête laurée) or 144 (=8IE-1886-130, Béatrix).

LG1882-3, Une fée
Now: R182, CR267.

LG1882-4, Derrière La grille.
Now: R182, CR1066 (=? 8IE-1886-125, Le secret).

LG1882-5, Satyre.
Now: R182, CR1231.

LG1882-6, Faust et Méphisto.
Now: R182, CR1078.

LG1882-7, Femme étrusque.
Maybe: R182, CR450

LG1882-8, Le Boulet.
Now: R182, CR1054.

LG1882-9, La Bataille des os.
Maybe: CR1179

LG1882-10, Le Cauchemar.
Now: R182, CR1172

LG1882-11, Araignée.
Now: R182, CR1085.

LG1882-12, Fleur étrange.
Now: R182, CR1181, 1183 or 1185.

LG1882-13, Le Cube.
Now: R182, CR688 or 689.

LG1882-14, Dans les boues.
Now: R182, CR2635: 1xxx, CR2635, Dans les boues primordiales (dans la fange primitive), fusain, 30×24, private (R182IV,p275+329-331) =LVM-1881-1, Mauvais génies; = LG1882-14, Dans les boues; =DR1894-46, Dans les boues primordiales.

LG1882-15, Caliban entouré de sylphes.
Maybe: CR1221.

LG1882-16, Ange et démon.
Now: R182, CR949: 1xxx, CR949, L’Ange et le démon, fusain, 45×37, MBA Bordeaux (R182II,p101+no949+IV,p329;iR6;iR23) =S1878-3709, Un faune menant un ange; fusain =Bordeaux 1879-445, Ange et démon, fusain

LG1882-17, Lune noire.
Compare: 8IE-1886-136, Lune noir

LG1882-18, Paysage.
Compare: 8IE-1886-131+138, Paysage + 3SdI-1887-403+404, Paysage.

LG1882-19, Paysage
Compare: 8IE-1886-131+138, Paysage + 3SdI-1887-403+404, Paysage.

LG1882-20, Paysage.
Now: R182, CR606: 18xx, CR606, La fôret enchantée, fusain, 60×50, MBA Bordeaux (R182I,p239+IV,p330;M11;iR10).

LG1882-21, Centaure visant les nues.
Now: R182, CR1251.

LG1882-22, La Peur (eau-forte)

LG1882-23, Le Gué (eau-forte)
Possibly the same as: S1867-2690, Paysage (eau-forte) =!? 1865, Le Gué (The ford), etch, 24×16, NGA Washington (M21;iR6;iR10;iR2;R182IV,p329;iR1)

LG1882-24, À Edgar Poe (six lithographes)

 

Odilon Redon at the Salon des Indépendants:
Redon exhibited at the Salon des Indépendants in 1884/85, 1886, 1887 and in 1926. He also exhibited at the predessor of the Groupe des Indépendants May 1884.

1884/05:
1884/05/15 – 07/01, Exposition de (Groupe) des Indépendants in the Palais des Tuileries (=GdI-1884). Redon exhibited 3 drawings and 6 lithographs (aR6=iR189=R182IV,p329;R39,p41).

GdAI-1884/05-192-1, Génie solitudes, dessins.

GdAI-1884/05-192-2, Profil de gloire, dessins.
Now: R182,CR261: 1875ca, CR261, Profile of glory (Caesar) (Tête de Romain à la couronne de lauriers), dr, 36×31, KMM Otterlo (iR10;iR7;R182,no261+IV,p329-331;M72) =LVM 1881-5, Le Profil; =3XX-1886-3, Profil de gloire; =EPG1890-206, Profil de César.

GdAI-1884/05-192-3, 6 lithographies. Dessins.

GdAI-1884/05-192-4, Entrer avec un frisson dans la vie, dessins.
Now: R182,CR1171.

 

1884/12:
1884/12/10 – 1885/01/10, 1st exposition of the Société des artistes indépendants (=SdI), also known as the Salon d’hiver at the Salon de la ville de Paris, Champs-Élysées (aR6=iR189=R182IV,p329;R1,p510).

1SdI-1884/12-201, L’Oeuf.
Now: R182,CR1088: 1885ca, CR1088, L’Oeuf, fusain, 45×34, MN Belgrade (iR382;iR10;iR7;R182,no1088+IV,p329).

1SdI-1884/12-2, Lady Macbeth.
Now: R182,CR2588: 1876, CR2588, Lady Macbeth, fusain, 50×31, Library NY (R182IV,p253) =GdI-1884-hc.

1SdI-1884/12-203, Profil d’enfant.
Now?: R182,CR1984 = 1866-70ca, CR1984, Head of the infant Jesus, dr, 32×26, Orsay (R182IV,p4) S70 B72-440 B78 1SdI84 = S1870 + Bordeaux 1872.

1SdI-1884/12-204, Le Masque de la mort rouge.
Il y avait des figures vraiment arabesques, absurdement équipées, incongrûment bâties; des fantaisies monstrueuses comme la folie … (Le masque de la Mort-Rouge, Edgar Poe).
Now: R182, CR394: 1xxx, CR394, Masque, ink, 19×15, A2017/09/26 (iR10;iR384;R182I,p159+IV,p329). I wonder if CR1171 is not a better option: Odilon Redon: 1xxx, CR1171, The masque of the red death, charcoal, 42×36, MoMa NY (iR10;iR132;R182,no1171) =3XX-1886-5, Le Masque de la mort rouge; = solo expos DR1894-3 + Rotterdam 1907-31; = retrospective 1926-179.

1886:
1886/08/21 – 09/21, 2nd exposition Salon des Indépendants at the Rue des Tuilleries, Bât(iment) B., near pavillon de Flore (aR6=iR189=R182IV,p329).

2SdI-1886-326, Fleurs
(4 géraniums dans un pot)

1887:
1887/03/26 – 05/03, 3rd exposition Salon des indépendants, pavillon de la ville de Paris, Champs-Élysées (aR6=iR189=R182IV,p329).

3SdI-1887-398, Araignée.
Now: R182,CR1085: 18xx, CR1085, Tête dans un corps d’araignée (detail), dr, 24×31, DAG Louvre (M5a;iR10).

3SdI-1887-399, Profil de femme.

3SdI-1887-400, Dans la balance
Now: R182,CR1143: 1880ca, CR1143, Dans la balance, fusain, 38×36, private (iR7;iR10;R182,no1143+IV,p330) =XX-1887

3SdI-1887-401, Cyclope.
Now: R182,CR1233: 1880ca, CR1233, Cyclope, dr, 12×16, private (R182II,p259;iR10;iR383). Compare litho: 1883, The Misshapen Polyp Floated on the Shores, a Sort of Smiling and Hideous Cyclops, litho, 21×20, MOMA New York (M41) + NGA Washington (M21;iR6).

3SdI-1887-402, Suggestion.
Now: R182,CR190: 1880-90ca, CR190, Lumière, fusain, 52×37, AI Chicago (M20;R182,no190+IV,p330).

3SdI-1887-403, Paysage.
Compare: 8IE-1886-131+138, Paysage.

3SdI-1887-404, Paysage.
Compare: 8IE-1886-131+138, Paysage.

1926:
1926/02/20 – 03/21, Trente ans d’art indépendants, 1884-1914, in the Grand Palais in Paris.
There were 12 art-works of Redon exhibited (catalogue numbers 29 + 3161-3171) (including CR337+776+863+970+1220+1241+1623+1793 (aR6=iR189=R182IV,p345)

 

 

Odilon Redon at Les Vingts in Brussels:
Redon sometimes exhibited with Les Vingts (=XX) in Brussels (aR6=iR189=R182IV,p330).

1886/02:
Redon joined the 3rd annual exhibition of Les Vingts in 1886 (R182IV,p330;R5,p148;R55;R3;aR1)

3XX-1886-1, Tête laurée.
Now: R182,CR143: 18xx, CR143, Tête Laurée, fusain, 50×37, private (R182I,p67;iR10;iR59;R90II,p274+250) =Le Gaulois 1882/02-2, Béatrix = 8IE-1886-124 =solo expo DR1894-47 or 398: 1xxx, CR398, La Gloire, fusain, 53×37, A1987/11/12 (R182I,p160;iR14+IV,p330) =? 8IE-1886-124.

3XX-1886-2, Homme primitif.
Now: R182,CR836: 18xx, CR836, L’homme primaire assis dans l’ombre, dr+p, 39×34, AI Chicago (R182II,p51=no836) =8IE-1886-126

3XX-1886-3, Profil de gloire.
Now: R182,CR261: 1875ca, CR261, Tête de Romain à la couronne de lauriers, dr, 36×31, KMM Otterlo (iR10;iR7;R182,no261+IV,p329-331;M72) =LVM1881-5 = EPG-1890.

3XX-1886-4, Le secret.
Now: R182,CR1065: 1886, CR1065, Le prisonnier (L’accusé), charcoal, 53×37, MoMa New York (R2,p464+446;R90II,p250+274;R90I,p433;R182,no1065;M41); or: CR1066: 18xx, CR1066, Visage derrière une fenêtre (La novice; Femme sauvage), fusain, 43×38, private (iR2;R182,no1066;R2,p445) =8IE-1886-125.

3XX-1886-5, Le Masque de la mort rouge.
Now: R182,CR1171: Odilon Redon: 1xxx, CR1171, The masque of the red death, charcoal, 42×36, MoMa NY (iR10;iR132;R182,no1171) = solo expos DR1894-3 + Rotterdam 1907-31; = retrospective 1926-179.

3XX-1886-6, Génie de solitude, paysage.

3XX-1886-7, Les Germes.

3XX-1886-8, La Bataille des os.
Now: R182,CR1179: 1xxx, CR1179, La bataille des os (deux squelettes se battant), fusain, 34×44, private (R182II,p223) =? Le Gaulois 1882/02-2, La Bataille des os (R182IV,p330).

3XX-1886-9, 10 lithographies.

1887/02:
Redon joined the 4th anual exposition (R182IV,p330;R55;aR1).

4XX-1887-1, La Landaise
Now: R182,CR341: 1xxx, CR341, La Landaise, fusain, 48×35, private (R182I,p139+IV330) = solo expo DR1894-39 = retrospective 1920-165

4XX-1887-2, Dans le dédale des branches
Now: R182,CR1180.

4XX-1887-3, Dans la balance
Now: R182,CR1143: 1880ca, CR1143, Dans la balance, fusain, 38×36, private (iR7;iR10;R182,no1143+IV,p330) = SdI-1887-400

4XX-1887-4, N’y a-t-il pas un monde invisible?
Now: R182,CR1099: 1xxx, CR1099, La Grappe (Le marchand de ballons), fusain, 38×26, A2021/05/28 (iR10;iR385;R182,no1099+IV,p331) or CR1101: 1xxx, CR1101, Les ballons, fusain, 50×35, private (R182II,p182+IV,p330) =retrospective 1926-228; or the litho version, that would be part of the album Le Juré that was published in 1887: 1887, N’y a-t-il pas un monde invisible… (Les ballons), litho (Le Juré), 44×32, VGM Amsterdam (M73;R182,no1101+IV,p330;Mellerio 79).

4XX-1887-hc1, Dramatique et grandiose
Maybe: R182,CR238: 1xxx, CR238, Dramatique et grandiose (prêtresse druidique), fusain, 27×27, A1964/04/29 (R182I,p102+IV330;iR14). Or maybe the lithograph was exhibited that would be part of the album Le Juré that was published in 1887: 1887, Dramatique et grandiose (prêtresse druidique), litho for Le Juré, 27×27, VGM Amsterdam (iR10;M73;R182,no238+IV330;iR14;Mellerio 80)

4XX-1887-hc2, Homme du peuple ou sauvage
Now: R182,CR227: 1887-, CR227, Un homme du peuple (un sauvage), fusain, 28×30, private (R182I,p97+IV330). Or maybe the lithograph was exhibited that would be part of the album Le Juré that was published in 1887: 1887, Un homme du peuple (un sauvage), litho (Le Juré), 28×30, VGM Amsterdam (iR10;M73;R182,no227+IV330;Mellerio 75).

4XX-1887-hc3, Par la fente du mur
Now: R182,CR1175: 1xxx, CR1175, Par la fente du mur (tête de mort fut projetée), fusain, 40×30, private (R182II,p221+IV,p330) =XX1890.

4XX-1887-hc4, Une cloche grave sonnait
Now: R182,CR1829

1890/02:
Redon would join the 7th annual exposition (aR6=iR189=R182IV,p330;R55;aR1).

7XX-1890-1, Au ciel (appartient à M. Van Gogh)
Now: R182,CR475,

7XX-1890-2, Le Pilori
Now: R182,CR523 or 524.

7XX-1890-3, Le Barbe (appartient à M. Edmond Deman)

7XX-1890-4, Le Printemps (appartient à M. Edmond Picard)
Now: R182,CR239.

7XX-1890-5, Frontispice pour Le Juré (appartient à M. Edmond Picard)
Now: R182,CR1175: 1xxx, CR1175, Par la fente du mur (tête de mort fut projetée), fusain, 40×30, private (R182II,p221+IV,p330) =XX1887.

7XX-1890-6, Figure accoudée, dessin recherche pour Le Juré (appartient à M. Edmond Picard)

7XX-1890-7, Décapité
Now: R182,CR383: 1xxx, CR383, Tête d’expression, fusain, 49×35, private (iR10;iR7;R182,no383+IV,p330).

7XX-1890-8, Christ (appartient à M. Edmond Deman)
Now: R182,CR2594: 1xxx, CR2594, Christ, fusain, 34×72, MBA Brussels (R182IV,p255) =solo expo DR1894-45.

7XX-1890-9, Brunnhilde (appartient à M. Edmond Deman)
Now: R182,CR976: 1xxx, CR976, Femme et Pégase, fusain, 52×37, private (R182II,p116+IV,p330).

7XX-1890-10, Dessins pour les ‘Fleurs du mal” (appartient à M. Edmond Deman)
9 drawings, now: CR2382 + 2383 + 2384 + 2385 + 794 + 1103 + 2386 + 941 + 1190.

7XX-1890-11, La Capture
Now?: R182,CR970.

7XX-1890-12, Perversité
Now: R182,CR284.

7XX-1890-13, Paysage.

7XX-1890-13+hc, Le Rêve s’achève par la mort
Now: R182,CR1176: 1xxx, CR1176, Le rêve s’achève par la mort, fusain, 50×34, private (R182II,p221+IV,p330).

 

Odilon Redon at La Libre Estétique:
Redon would exhibit at the successor of Les Vingts, namely La Libre Esthétique in Brussels in 1894, 1895, 1901 and 1909 (R182IV,p331-335;aR1). Some sources mention he also did so in 1897 (R298,p177).

1894:
1894/02/17 – 03/15, 1st exposition in Brussels (aR6=iR189=R182IV,p331).

1LE-1894-373, Douleur, drawing.
Now: R182,CR1197: 1xxx, CR1197, L’Esprit des arbres, fusain, 51×37, MFA Gifu (Japan) (R182II,p228+IV,p331).

1LE-1894-374, Le Livre des lumières, drawing.
Now: R182,CR194: 1893, CR194, Tête de femme voilée, fusain, 52×38, NGA Washington (R182I,p312+IV331;iR10;M21).

1LE-1894-375, Le liseur, drawing.
Now: R182,CR48.

1LE-1894-376, Profil de femme, drawing.
Now: R182,CR335.

1LE-1894-377, Polype de rêve, drawing.
Now: R182,CR1217: 1xxx, CR1217, Polypes de rêve, fusain, 48×36, MuMa NY (R182II,p249+IV,p331) =solo expo DR1894-10 = retrospective 1907-32.

1LE-1894-378, Grappe de mauvais esprits, drawing.
Now: R182,CR1099 or 1100 or 1101.

1LE-1894-379, L’enfant, pastel.
Now: R182,CR32.

1LE-1894-380, Le temple, pastel.

1LE-1894-381, Démone, pastel.

1LE-1894-382, La peur, etch.

1LE-1894-383, Sciapode, etch.

1LE-1894-384, Environs de Toulon (?), etch.

1LE-1894-385, La lecture, etch.

1LE-1894-386, Le pardon de Sainte-Anne-la-Palud, etch, (suite d’estampes raccordées).

1895:
1895/02/23 – 04/01, 2nd exposition.
Redon exhibited 5 paintings (including CR659), 1 pastel, 1 etch and lithographes (aR6=iR189=R182IV,p331).

1901:
Redon exhibited at the Salon de la Libre Esthétique (aR6=iR189=R182IV,p332).

1909:
1909/03/07 – 04/12, 16th exposition.
Redon exhibited 13 works, 6 pastels and 7 lithographs (portraits) (aR6=iR189=R182IV,p335).

16LE-1909-222. Fleurs de décoration, pastel
16LE-1909-223. Géranium et vigne-vierge, pastel
16LE-1909-224. Soucis jaunes, pastel
16LE-1909-225. Géraniums, pastel
16LE-1909-226. Bouquet, pastel
16LE-1909-227. Soleils, feuilles rouges, pastel

 

Odilon Redon at the Exposition de peintres-graveurs:
Exhibitions held at the Durand-Ruel Gallery in Paris by the ‘Société des Peintres-Graveurs’. Félix Bracquemond and Pissarro also exhibited here. (R182IV,p330/1;R5,p168;aR1)

1889/01/23 – 02/14:
Redon exhibited 2 landscape studies; 4 charcoal drawings (including CR187 + 182?) and lithographes (aR6=iR189=R182IV,p330).

1890/03/06 – 30, 2nd exposition:
Redon exhibited 3 works (including CR260+261+694) and several lithographes (aR6=iR189=R182IV,p331).

1891/04/04 – 30, 3rd exposition:
Redon exhibited 3 paintings (including CR411) and 6 other works (aR6=iR189=R182IV,p331).

1892/04/15 – 30, 4th exposition:
Redon exhibited 6 drawings / pastels (including CR1115+728), 9 etchings / dry-points and several lithographes (aR6=iR189=R182IV,p331).

1893/04/07 – 28, 5th exposition:
Redon showed 4 works, including 1 painting and 2 lithographes (including CR914) (aR6=iR189=R182IV,p331).

 

Odilon Redon at the Exposition Universelle:
At the Exposition Universelle of 1900 Redon was present with one work. Later in 1913 he also was present in Ghent.

1900:
Exposition Centennale de l’art français (1800-1889) (aR6=iR189=R182IV,p332).

EU-C-1281, Les yeux clos (M. Pontremoli)
Now: R182,CR471: 1870-90, CR471, Les yeux clos, sanguine, 40×35, private (R182I,p187+IV,p332+no471;R298,p185).  Since 1891 in the Pontremoli collection.

1913, Ghent:
At the Exposition Universelle in Ghent in April and May 1913, there were 8 works send in made by Redon; most are not identified (aR6=iR189=R182IV,p337).
Ghent-EU-1913-329. Papillons, painting
Ghent-EU-1913-330. Anémones, painting
Ghent-EU-1913-331. La captive, painting
Ghent-EU-1913-332. Les yeux clos, painting
Ghent-EU-1913-333. Fleurs, painting
Ghent-EU-1913-334. Venise, painting
Ghent-EU-1913-335. Papillons, painting
Ghent-EU-1913-336. Décor d’écran, painting

Odilon Redon at Centennial exhibitions:

Saint-Petersbourg-1912-515. Visage (Face], drawing  [Victor Victorovich Goloubev in Paris] (iR261)
Saint-Petersbourg-1912-516. Jeu de Coleurs (Color Game]
Saint-Petersbourg-1912-517. Roger et Monstre (Roger and the Beast] [Druet in Paris]

 

Odilon Redon at the Salon d’Automne:
In 1904 + 05 + 06 Redon exhibited at the Salon d’Automne in Paris. He was a sociétaire from 1905-07 (R239)

1904:
1904/10/15 – 11/15, 2nd exposition, Grand Palais Paris, salle Odillon Redon.
11 paintings were exhibited (including CR480+681+2526), 15 drawings (including CR54+144+284+479+914+1135), 20 pastels (including CR24+79+81+84+175+365+1287+1959) and 18 lithographes (aR6=iR189=R182IV,p333;aR1;R14;R55).

1905:
1905/10/18 – 11/25, 3rd exposition, Grand Palais Paris.
Redon showed 3 paintings (including CR683) and 7 pastels (including CR61+1482+1592+1954) (aR6=iR189=R182IV,p333/4).

1906:
1906/10/06 – 11/15, 4th exposition at the Grand Palais in Paris (aR6=iR189=R182IV,p334).
Redon showed 3 paintings (including CR1444) and 5 pastels (including CR93+682+1592).

 

Odilon Redon at the ‘Armory show’ in the USA in 1913:
From 1913/02/18 – 05/19 there was the International Exhibition of Modern Art held  in New York, Chicago and Boston. This was a travelling exhibition and also called the ‘Armory show’. Each exhibition counted about 40 catalogue numbers, one number including several lithographes (in New York 29) and in New York also 7 etchings (aR6=iR189=R182IV,p336;iR3;aR1).

 

Odilon Redon at regionale exhibitions:
Redon also exhibited at regional exhibitions.

Lille-1866-1263, Effet du soir; fusain.
Lille-1866-1264, Paysage; fusain.
Lille-1866-1265, Crépuscule; fusain

Le Havre-1907-50,  Fleurs.
Le Havre-1907-51, Diane.

 

 

Solo exhibitions of Odilon Redon:
There were several solo exhibitions organised with works of Odilon Redon. Already in 1881 at La Vie Moderne↑ and a year later at ‘Le Gaulois’ showing 20 charcoal drawings and engravings (R182IV,p329). In 1894 there was one in The Hague, Holland at the ‘Kunstkring’ (R55). In 1898 there was a successful exhibition at Vollard (aR1). 1899/03/10 Redon co-organized (with Signac and Denis) a major exhibition at Durand-Ruel (R39,p174+308;R55;iR3;aR1). In 1903 Redon exhibited in Vienna at the Vienna Secession (R55). I now will mention some major solo exhibitions of which several were held at the Durand-Ruel Gallery and some major retrospectives.

1894:
1894/03/29 – 04/14: solo exhibition at the Durand-Ruel Gallery, showing 51 drawings, 9 paintings and 10 pastels (aR6=iR189=R182IV,p331;R4,p270;aR1).

1900:
1900/05/10 – 26: solo exhibition at the Durand-Ruel Gallery, showing 14 pastels and 20 paintings / studies (aR6=iR189=R182IV,p332;aR1).

1903:
1903/03/12 – 26: solo exhibition at the Durand-Ruel Gallery, showing 15 paintings, 35 pastels, 5 drawings and 5 lithographes (aR6=iR189=R182IV,p333).

1906:
1906/02/28 – 03/15: solo exhibition at the Durand-Ruel Gallery, showing 22 paintings, 23 pastels, 3 drawings, 1 photo and several etchings and lithographes (aR6=iR189=R182IV,p334); half of the works were flower pieces (R55).

1907:
1907/05: solo exhibition in Rotterdam, showing 12 paintings, 12 pastels, 17 drawings and 20 lithographes (aR6=iR189=R182IV,p334).

1917:
1917/04/18 – 28: large retrospective at Bernheim-Jeune in Paris, showing 25 paintings (landscapes after nature), 32 watercolours and 30 drawings (aR6=iR189=R182IV,p338)

1920:
1920/05/18 – 06/15: large retrospective in the Barbazanges Gallery in Paris, showing 92 paintings, 46 pastels, 15 watercolours, 28 drawings and 9 ‘sanguine’ drawings (aR6=iR189=R182IV,p340-341)

1923:
1923/06/11 – 30: large retrospective in the Druet Gallery in Paris, showing 64 paintings and 66 paintings (1860-80), 39 pastels, 30 lithographes, 13 etchings, 19 watercolours, 45 drawings, 14 copies of master pieces, 8 pieces of decorative art (aR6=iR189=R182IV,p343-345)

1926:
1926/03: large retrospective in the Musée des Arts Décoratifs in Paris, showing 95 paintings, 66 pastels, 6 watercolours, 62 drawings and 12 pieces of decorative art (aR6=iR189=R182IV,p345-347;M6)

 

 

Recommanded citation: Odilon Redon, an account of his exhibited art-works. Last modified 2023/08/11. https://www.impressionism.nl/redon-account/”