Mask comes with a filter pocket and an included PM2.5 filter. His imagination always come forth of observing nature (R74). 1898: an successful exhibition at Vollard (aR1). In his earlier years, Redon made several landscapes in the manner of Corot, Chintreuil and Cazin (R55). (R1,p501;aR1). Odilon Redon actually exhibited in the 1886 Impressionist exhibition. Following his fathers wishes he took up architecture, but after failing exams he continued with his love of drawing. 1899/03/10: Redon co-organized (with Signac and Denis) a major exhibition at Durand-Ruel (R39,p174+308;R55;iR3;aR1). 1900: exhibition at Durand-Ruel (aR1). Musée d'Orsay: Despair, 1882. Poppies and Daisies (1867) by Odilon Redon. Redon was also part of the Nabis (aR1). Oil with incising on paper mounted on wood cradle, 71.1 x 52.7 cm. Redon stopped making his ‘noirs’ after 1900 (iR3). But according to himself ‘the future belongs to a subjective world’, not with a man that observes but one that meditates and listens to his inner voices. (R1,p560). Odilon Redon actually exhibited in the 1886 Impressionist exhibition. Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family. By circa 1900 all his work had become a celebration of explosive colour (R55). For other additional references (=aR) see below. Around 1890 also inspired by Vuillard and Bonnard (aR1). Catalogue Note Odilon Redon’s floral compositions are the apogee of his oeuvre. Redon only joined the 8th ‘impressionist’ exposition: Between 1879-99 Redon made 166 lithographs (R55). What had happened with the Degas doctrine that this was forbidden? I assume several were oil paintings. The giant head, however, dominates the image, with enormous eyes and a tiny wing keeping it suspended. He tried to render the superficial beauty of natural objects, such as flowers (R55). Redon only joined the last ‘impressionist’ exposition in 1886. 1882: exhibited about 20 charcoal drawings at ‘Le Gaulois’. 1840-51: Redon grew up with his uncle in Peyrelebade (Médoc) (aR1;R16), 1859: went to Paris (R55). According to Rewald all exhibited works were drawings and they hung in a hallway (R1,p523). 1840/04/20: Odilon Redon was born as Bertrand-Jean in Bordeaux. Redon once said: ‘I refused to step in the impressionist boat’ (R16). Redon, Odilon: A soi-même. (R2,p464). 1855: Redon was a pupil of Stanislas Gorin in Bordeaux (aR1;R55). Self-Portrait, 1880, Musée d'Orsay. 1891: starts to work in a symbolistic style (R3). Acquaintance with Corot, Courbet and Fatin-Latour (R3). Signac (1895+99) admired Redon his work, a drawing for ‘the superb quality of the blacks and whites, (and) their prefect arrangement’, and in general ‘as an artist who exploited the subject as merely a pretext for the play of colour, line and form’ (R39,p65+76+81). See links for practical hints and abbreviations and for the subscription of the paintings. The catalogue doesn’t indicate what media were used. In his later symbolistic paintings Redon used also very bright colours. Redon also made book illustrations for books of Edgar Allen Poe (1882) (aR1;R14). He at least exhibited in 1867 / 70/ 78/ 85/ 86. Wildenstein, Alec and others: Odilon Redon, catalogue raisonné de l’oeuvre peint et dessiné. Known for his unique blend of artistic naturalism and symbolic subject matter, Odilon Redon was highly influential among the late 19th century French avant-garde circle. He writes (1898/07/21): ‘the only aim of my art is to produce within the spectator a sort of diffuse but powerful affinity with the obscure world of the indeterminate’ (R55) His work represents an exploration of his internal feelings and psyche (iR3). Odilon Redon (born Bertrand-Jean Redon; French: [ʁədɔ̃]; April 20, 1840 – July 6, 1916) was a French symbolist painter, printmaker, draughtsman and pastellist. Redon, Odilon: Lettres d’Odilon Redon. (R1,p442) Redon judges that Impressionism ‘was too slavish in its devotion to the external appearance of an object, an approach which shut off the artist from the essence of internal qualities of the object, from its spiritual light.’ (R55,p120) Redon himself rendered strange dream worlds (R74). For other general references (=R) see. Following his fathers wishes he took up architecture, but after failing exams he continued with his love of drawing. 1884/06: co-founder of the ‘Société des Artistes Indépendants’; Redon is the first chairman (R5,p140;R39,p41;R1,p508;R3). He didn’t appreciate his professor: ‘At the ‘Ecole des Beaux-Arts, I paid a lot of attention to the rendering of form… I was tortured by the professor… he tried visibly to inculcate in me his own manner of seeing and to make me a disciple… he made me close my eyes to light and neglect the viewing of substances…’ (R1,p73). 1883: the origins appear, an album of 8 lithographs (aR1). Redon was a teacher of Gustave Fayet (iR24). 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). He will do so again in 1887 and 1890 (R55;aR1).